it  a  n  u  a  I 


of 


t|urrl|       ufitr 


Jffrtr  (5lj0trmafit?r0  ani>  ©rgantsta 


lip      olpljttt   Irpafi 


FROM   THE   LIBRARY  OF 
REV.    LOUIS    FITZGERALD    BENSON,   D.  D. 

BEQUEATHED   BY   HIM   TO 

THE   LIBRARY  OF 

PRINCETON  THEOLOGICAL  SEMINARY 

1(0  + 


MANUAL 


Church  Music 


PREPARED   BY 

r 

WILLIAM  JOSEPH  FINN,  C.S.P.,  Catholic  University  of  America 
PROF.  GEORGE  HERBERT  WELLS.  Georgetown  University,  Washington,  D.  C. 

Prof.  Francis  Joseph  O'Brien.  Choirmaster  Gesu  Church,  Philadelphia 


WITH    PREFACE   BY  THE 

Rev.  H.  T.  Henry.  Litt.D. 

Professor  of  Gregorian  Chant,  St.  Charles  Seminary,  Overbrook,  Pa. 

AND 

INTRODUCTION   BY 

His  Excellency,  the  Apostolic  Deleqate  to  the  United  States 


Vl 


UoSup^t) 


Aa#? 


Zhe  Bolpbin  press 

PHILADELPHIA,  PA. 


•(Imprimatur 

PATRITIUS  JOANNES 

Archiep.  Philadelphien 


Die  20  Septembris,  IQ05 


Copyright,  1905 

Qhe  Bolpbin   press 


INTRODUCTION. 


Apostolic  IBclegatton. 

Washington,  D.  C, 
September  22,  1905. 

Reverend  and  Dear  Sir  : 

I  am  glad  to  learn  that,  notwith- 
standing your  incessant  literary  labors,  you  are  about  to  publish 
a  Manual  of  Church  Music,  composed  in  accordance  with  the 
rules  and  spirit  prescribed  by  our  Holy  Father,  Pius  the  Tenth, 
in  his  Motu  proprio  of  November  22,  1903. 

I  consider  the  publication  of  such  a  manual  most  opportune 
at  the  present  time,  and  I  have  no  doubt  that  it  will  prove  of 
paramount  importance  in  the  solution  of  those  difficulties, 
which,  in  the  mind  of  many,  hamper  the  putting  into  execution 
of  the  Papal  instructions. 

The  names  of  your  co-operators,  who  are  esteemed  as  some 
of  the  ablest  choirmasters  of  America  and  Europe,  are  a  suffi- 

(Hi) 


,v  MANUAL  OF  CHURCH  MUSIC. 

cient  guarantee  for  the  soundness  of  the  principles  you  sustain, 
and  consequently  the  Manual  cannot  but  recommend  itself  and 
have  every  assurance  of  success. 

Unfortunately  the  edict  of  our  Sovereign  Pontiff  has  been 
received  by  many  in  this  country  with  misgivings  as  to  the 
possibility  of  putting  it  into  practice.  I  trust  that  this  timid- 
ity will  be  overcome  by  the  help  of  your  Manual  and  by  the 
encouragement  given  by  the  happy  results  already  obtained  in 
those  churches  where  the  Reverend  Pastors,  in  obedience  to 
the  Pope's  orders,  have  courageously  undertaken  the  desired 
reform,  guided  by  methods  more  or  less  similar  to  the  one  you 
advocate  in  your  book. 

Indeed,  it  is  to  be  deplored  that  in  a  country  like  this,  where 
so  much  zeal  is  shown  in  promoting  whatsoever  tends  to  en- 
hance the  dignity,  majesty,  and  sanctity  of  our  Sacred  Mys- 
teries, any  hesitation  should  exist  in  endeavoring  to  bring 
about  such  a  necessary  reform  in  church  music.  And  the 
more  so  because  if  the  Gregorian  Chant  may  appear  in  some 
places  difficult  of  execution,  the  same  cannot  be  said  of  modern 
church  music  which  is  also  permitted.  For,  whilst  our  Holy 
Father  in  the  said  Motu  proprio  regards  Gregorian  Chant  as 
the  only  chant  which  possesses  in  the  highest  degree  the  quali- 
ties proper  to  the  Sacred  Liturgy,  yet,  taking  into  consideration 
the  progress  which  the  art  of  music  has  made,  admits  also  in 
the  Church  modern  music,  provided  that  it  be  sober  and  grave, 
containing  nothing  profane  and  in  no  way  unworthy  of  the 
liturgical  functions. 

Such  being  the  case,  what  is  the  cause  of  the  deplorable 
hesitation  we  witness  in  the  banishment  of  profane  music 
from  our  churches?  I  am  led  to  believe  that  the  cause  of  this 
procrastination  is  to  be  found  in  the  fact  that  our  taste  has 
been  vitiated  and  our  judgment  led  astray  by  the  constant  use, 
m    our   earliest   years,   of   sensational   profane  music,   and 


INTRODUCTION.  V 

consequently  we  do  not  now  fully  realize  the  value  of  eccles- 
iastical music,  than  which  nothing  in  connection  with  the 
Sacred  Liturgy  is  more  sublime  and  beautiful. 

Yet  this  is  a  matter  of  the  gravest  importance  and  deserves 
our  serious  consideration. 

Here  we  have  the  command  of  the  Supreme  Pastor  of  the 
Church,  emphatically  given  and  binding  in  conscience  bishops, 
priests,  and  people.  The  edict  does  not  intend  to  introduce 
an  innovation  in  the  Church,  but  merely  aims  at  the  restora- 
tion of  an  ancient  discipline,  which  is  essential  to  the  decorum 
and  splendor  of  the  Church  of  God. 

On  the  necessity  of  this  reformation  of  church  music  the 
highest  ecclesiastical  authorities  of  every  age  and  country,  in 
accordance  with  the  wishes  of  the  Sovereign  Pontiffs,  have 
never  ceased  to  insist.  Even  here  in  America,  the  Fathers  of 
the  Third  Council  of  Baltimore  proclaimed  as  an  abuse  any 
other  music  during  the  celebration  of  sacred  functions  and  the 
solemn  oblation  of  the  Sacrifice  of  the  Mass,  except  such  as 
would  "  more  efficaciously  raise  the  hearts  of  men  to  God  and 
thereby  add  greater  glory  to  His  worship." 

Yet,  notwithstanding  all  this  anxious  care  on  the  part  of 
the  authorities  of  the  Church  and  the  last  fervent  appeal  of 
His  Holiness  Pius  the  Tenth,  as  yet,  comparatively  speaking, 
very  few  are  the  pastors  who  have  earnestly  set  themselves 
to  work  to  correct  a  practice  so  vigorously  condemned  as 
derogatory  to  the  sanctity  of  the  House  of  God.  What  is  the 
cause  of  this  aberration?  It  is  said  that  it  is  difficult  to  fol- 
low out  our  Holy  Father's  instructions.  But  such  is  not  the 
case,  because,  once  admitted  that,  besides  Gregorian  Chant 
which  to  some  appears  hard  and  difficult,  modern  music,  pro- 
vided it  be  in  harmony  with  the  sanctity  of  the  Sacred  Liturgy, 
is  also  permitted,  all  difficulties  are  removed;  for  the  execu- 
tion of  church  music  is  far  easier  than  that  of  the  intricate 


vi  MANUAL  OF  CHURCH  MUSIC. 

passages   of   some   compositions   which   to-day   profane   our 
churches. 

It  is  also  argued  that  the  exclusion  of  women  from  the 
choir  would  prove  detrimental  to  our  church  services.  It  is 
true  that  this  regulation  will  encounter  difficulties,  especially 
in  small  parishes  and  in  country  places,  until  school-boys  can 
be  properly  trained;  and  consequently  in  exceptional  cases  the 
matter  is  left  to  the  prudence  and  zeal  of  the  bishops  and 
pastors.  Here  too,  however,  measures  should  be  taken  so  that 
the  laws  of  the  Church  be  complied  with  quamprimum.  As 
regards  large  parishes  and  cathedrals,  this  regulation  cannot 
encounter  grave  difficulties.  What  has  already  been  accom- 
plished since  the  publication  of  the  Motu  proprio  in  some  of 
our  American  cathedrals  and  churches,  can  be  accomplished  in 
others  if  the  pastors  will  only  manifest  sufficient  zeal  and  set 
themselves  to  work  with  earnestness  and  perseverance  for  this 
much  needed  reform.  Women  singers  could  still  be  of  great 
service  in  the  church.  They  could  play  a  better  and  nobler 
part :  they  could  act  as  leaders  in  congregational  singing, 
which  should  be  introduced  in  every  church. 

.  Again,  Ave  are  told  that  the  introduction  of  such  a  reform 
would  lessen  the  number  of  worshippers.  But  facts  prove  the 
contrary.  The  churches  where  pure  ecclesiastical  music  has 
been  introduced  are  more  frequented  than  others.  But  ad- 
mitted that  such  a  falling  off  in  attendance  should  be  feared, 
would  it  not  be  much  better  for  such  lovers  of  sensational 
music  to  remain  out  of  the  House  of  God,  which  is  the  House 
of  Prayer,  than  to  profane  it  by  their  presence?  However, 
it  is  a  pleasure  to  know  that  the  vast  majority  of  the  laity, 
tired  of  the  morbid  and  sensational  singing  in  our  churches,  is 
anxious  to  see  the  injunctions  of  the  Holy  See  carried  into 
execution.  I  have  received  not  a  few  complaints  from  some 
of   the  most   distinguished  members  of  the  laity  protesting 


INTRODUCTION.  vii 

against  this  flagrant  violation  of  the  laws  of  the  Church  and 
against  the  profanation  of  the  House  of  God  by  unbecoming 
music.  It  behooves  pastors  to  whom  the  care  of  souls  is  en- 
trusted and  who  have  to  look  for  their  edification,  to  see  that 
such  scandals  are  removed.  The  Instruction  of  our  Holy- 
Father  Pius  the  Tenth  is  clear  and  evident.  It  is  directed  to 
the  whole  Catholic  world.  No  nation  is  exempted ;  and  it  has 
a  juridical  and  authoritative  binding  character  everywhere 
and  upon  all  Catholics.  "  We  will,"  says  the  Holy  Father, 
"  with  the  fulness  of  our  Apostolic  authority  that  the  force 
of  law  be  given  [to  the  said  Motu  proprio],  and  we  do  by  our 
present  handwriting  impose  its  scrupulous  observance  on  all." 

After  this  formal  declaration  issued  about  two  years  ago, 
what  would  one  be  led  to  think  of  some  pastors  who  have 
not  as  yet  made  a  single  move  toward  the  desired  reform; 
who  even  forget  their  sacred  mission  to  such  an  extent  as  to 
permit,  in  open  disregard  of  every  Church  discipline,  the 
printing  of  pompous  programmes  of  objectionable  music  with 
the  names  of  the  soloists,  etc.,  as  is  practised  in  theatres  and 
concert  halls,  and  the  distribution  of  the  same  during  the  cele- 
bration of  our  most  august  Mysteries?  A  parish  priest  who 
permits  such  abominations  in  the  House  of  God,  or  who  has 
not  the  power  or  courage  to  put  a  stop  to  such  sacriligious 
abuses,  is  unworthy  of  his  high  and  sacred  office. 

Reverend  Sir,  I  heartily  bless  your  work  the  object  of  which 
is  to  eradicate  these  evils.  May  it  have  a  large  circulation  and 
be  crowned  with  success. 

With  sentiments  of  the  highest  esteem,  I  beg  to  remain 
Most  faithfully  Yours  in  Xto., 

IrJc^tj&z^Jlz,  <Z?ik^£^rz>z^  *^C^<^£*^*k 

Apostolic  Delegate. 
The  Reverend  Herman  J.  Heuser,  D.  D. 


PREFACE. 


THE  Instruction  on  Sacred  Music,  commonly  referred  to  as 
-*•  the  Motu  proprio  on  the  subject,  was  issued  at  the  Vatican 
on  the  Feast  of  St.  Cecilia,  patroness  of  Church  Music,  No- 
vember 22,  I903. 

That  a  subject  which  had  already  been  treated  copiously  by 
the  immediate  predecessor  of  Pius  X  should  have  been  one  of 
the  very  first  to  be  taken  up  by  the  recently  elected  Pontiff, 
has  been  widely  commented  upon  as  well  by  our  separated 
brethren  as  by  those  of  the  household  of  the  faith.  It  was 
thought  that  Leo  XIII  and  Pius  IX,  in  their  various  pro- 
nouncements on  the  well-worn  theme,  had  uttered  fully  the 
mind  of  the  Holy  See ;  and  the  world  at  large  was  looking  for 
some  startling  declaration  on  topics  of  ecclesiastical  and  state 
polity,  which  should  either  re-affirm  or  contradict  the  policies 
of  the  great  Leo.  The  feeling  of  surprise  was  perhaps  natural 
in  the  circumstances ;  and  yet  the  declared  desire  of  Pius  X  to 
"  restore  all  things  in  Christ  "  should  have  led  a  wise  observer, 
familiar  with  the  legislation  on  liturgical  music  and  its  failure 
to  attain  the  desired  results,  to  suspect  that  the  new  Pontiff 
must  at  some  time  rehearse  the  old,  old  story.  That  the  re- 
hearsal should  have  come  so  soon  is  to  be  interpreted  as  a 
papal  view  of  the  really  extreme  importance  of  the  issues 
at  stake. 

The  peculiar  emphasis  thus  laid  on  the  subject  of  liturgical 
music  was  not  misunderstood;  and  it  is  not  strange  that  a 
large  discussion  should  have  followed  the  pronouncement. 
But  this  fact  will  not  explain  the  really  vast  interest  created; 

(be) 


x  PREFACE. 

the  widespread  activities  that  immediately  followed;  and  the 
various  voices  of  protest  mingled  with  those  of  praise,  as  well 
as  the  commentary  of  misapprehension  or  misinterpretation 
mixed  with  that  of  elucidation,  which  signalized  the  wide- 
spread discussion  of  the  papal  Instruction. 

The  real  reason  for  all  this  lies,  not  in  the  novelty  of  the 
Pope's  action,  but  in  its  juridical  and  authoritative  and  bind- 
ing character.  Leo  XIII  had  earnestly  and  insistently  re- 
commended certain  reforms.  Pius  X  has  commanded  reform : 
"  We  do  therefore  publish,  motu  proprio  and  with  certain 
knowledge,  our  present  Instruction,  to  which,  as  to  a  juridical 
code  of  sacred  music  {quasi  >a  codice  giuridico  delta  musica 
sacra),  we  will,  with  the  fulness  of  our  Apostolic  authority, 
that  the  force  of  law  be  given,  and  we  do  by  our  present  hand- 
writing impose  its  scrupulous  observance  on  all."  1 

These  are  very  strong  words,  even  for  a  command.  But 
since  every  law  must  rely  upon  executive  activity  for  its  en- 
forcement, the  Pope  concludes  his  Instruction  with  words  of 
almost  pathetic  exhortation  to  all  concerned :  "  Finally,  it  is 
recommended  to  choir-masters,  singers,  members  of  the  clergy, 
superiors  of  seminaries,  ecclesiastical  institutions,  and  religious 
communities,  parish  priests  and  rectors  of  churches,  canons  of 
collegiate  churches  and  cathedrals,  and,  above  all,  to  the  dio- 
cesan Ordinaries,  to  favor  with  all  zeal  these  prudent  reforms, 
long  desired  and  demanded  with  united  voice  by  all;  so  that 
the  authority  of  the  Church,  which  herself  has  repeatedly 
proposed  them,  and  now  inculcates  them,  may  not  fall  into 
contempt."  2 

These  words  of  entreaty  appealed  to  the  hearts  of  all  con- 
cerned, just  as  the  preceding  words  of  command  had  appealed 
to  their  consciences ;  and  forthwith  the  literature  of  the  newly 
inaugurated  movement   for  reform  in  church  music  sprang 

1  See  The  Ecclesiastical  Review,  Feb.  1904,  p.  115.  2Ibid.,  p.  123. 


PREFACE. 


XI 


into  being  and  was  marvelously  multiplied.  But,  as  was  per- 
haps inevitable,  various  minds  interpreted  differently  certain 
parts  of  the  Instruction,  sometimes  as  to  the  exact  meaning 
of  the  paragraphs,  sometimes  as  to  the  binding  character  of 
the  particular  portion  of  the  legislation  thus  treated  of. 
Again,  to  some  priests  and  to  some  choir-masters  the  diffi- 
culties to  be  surmounted  appeared  so  formidable  as  to  justify 
a  dilatory  compliance,  an  attitude  of  prudent  hesitation  while 
the  matter  of  "  ways  and  means  "  might  be  more  maturely 
considered. 

To  the  simple-hearted  seeker  for  clear  information  and 
definite  lines  of  procedure  in  the  carrying  out  of  the  Pope's 
command,  the  wide  discussion  must  indeed  have  darkened 
counsel.  In  some  cases  the  discussion  appeared  to  be  of  a 
minimizing  character ;  in  others,  of  an  undoubtedly  obstructive 
purport.  Technical  language,  appeals  to  tradition,  sestheticism 
mixed  with  archaeology,  the  scarcely  veiled  antipathies  of 
schools  of  interpretation  in  Plain  Chant,  questions  concerning 
the  possible  employment  of  female  voices  in  extra-liturgical 
functions,  etc.,  etc., — all  these  distracting  features  were  found 
in  a  discussion  which,  meanwhile,  was  not  carried  on  con- 
sistently in  one  quasi-authoritative  organ  where  the  literature 
of  the  subject,  however  involved,  might  at  least  be  easily  read 
and  compared,  but  was  spread  out  over  months  of  time  and  in 
a  large  variety  of  periodicals — quarterly  reviews,  monthly 
magazines,  weekly  and  daily  papers,  in  all  the  languages  of 
Christendom;  so  that  even  an  earnest  student  might  easily  be- 
come so  perplexed  as  to  give  the  subject  up  in  despair  of 
ever  understanding  it. 

Meanwhile,  the  curious  fact  remains  that  the  subject  is,  in 
itself,  by  no  means  difficult  to  understand,  if  treated  with 
discrimination  by  competent  students  of  liturgy  and  of  music. 
Let  the  whole  subject  be  gone  over  patiently  by  those  qualified 


XI 1 


PREFACE. 


for  such  a  task  by  knowledge  and  experience,  and  what  seemed 
a  hopelessly  confused  mixture  of  chemical  elements  in  con- 
stant ebullition  will  be  found  solidified  into  a  beautiful  and 
shapely  crystal — clear,  definite,  compact.  This  is  what  has 
been  achieved  by  the  writers  of  the  present  Manual  of 
Church  Music.  All  the  subjects  touched  upon  by  the 
Instruction  have  been  carefully  gone  over  by  experts  in  liturgy, 
in  music,  in  practical  technique  of  choir-training.  The  volume 
is  not  merely  a  symposium  of  views  and  of  articles;  it  is  a  con- 
sistent structure,  each  of  whose  parts  is  related  organically  to 
the  others.  The  writers  have  not  worked  separately  at  their 
several  themes,  but  have  brought  their  combined  expert  know- 
ledge, in  their  various  fields  of  study  and  of  practical  experi- 
ence, to  bear  upon  the  problems  presented  by  the  Instruction; 
so  that  each  chapter  represents  a  problem  solved  adequately, 
not  by  one  of  the  editors  but  by  all  acting  in  conjunction. 

A  perusal  of  the  volume  will  show  the  value  of  the  method 
pursued.  The  end  constantly  kept  in  view  is  an  eminently 
practical  one.  There  is  nothing  merely  academic  in  the  treat- 
ment. Principles  have  indeed  been  set  forth  with  sufficient 
elaboration,  but  the  theory  has  been  developed  only  so  far  as 
to  make  the  practice  more  easily  intelligible  and  feasible. 
Every  priest,  every  choir-master,  every  singer — in  a  word,  all 
those  to  whose  spirit  of  zeal  the  Pope  appeals  in  the  last 
words  of  his  famous  Instruction — should  not  merely  possess 
the  volume  but  should  carefully  master  the  contents,  so  that 
all  may  be  enabled  to  forward  the  "  prudent  reforms,  long 
desired  and  demanded  with  united  voice  by  all,"  and  so  that 
"  the  authority  of  the  Church,  which  herself  has  repeatedly 
proposed  them,  and  now  inculcates  them,  may  not  fall  into 
contempt."  H.  T.  Henry. 

Overbrook  Seminary,  Pa. 


CONTENTS. 


PAGE 

Introduction,  His  Excellency,  the  Apostolic  Delegate  ....      iii 
Preface,  Rev.  H.  T.  Henry,  Litt.  D ix 


PART  L 

CHAPTER  I. 
The  Call  for  Reform i 

CHAPTER  II. 
The  Recent  Legislation  Concerning  the  Personnel  of  Church 
Choirs 5 

CHAPTER  III. 
The  Organization  of  a  Choir n 

I.  Boys'  Section 12 

II.  Adults'  Section 16 

CHAPTER  IV. 

The  Number  and  Proportion  of  Voices 20 

I.  Number 20 

II.  Proportion 22 

III.  Alto-Section 24 

CHAPTER  V. 
General  Hints  for  Maintaining  a  Choir 28 

CHAPTER  VI. 
The  Choir  and  Organ  in  the  Chancel 36 

CHAPTER  VII. 

The  Choirmaster 43 

(xiii) 


xiv  CONTENTS. 


PART  IL 


PAGE 


CHAPTER  VIII. 
The  Distinctive  Feature  of  a  Boy-Choir 53 

CHAPTER  IX. 
The  Training  of  Boys'  Voices 57 

CHAPTER  X. 
Current  Views  on  the  Use  of  the  Registers  in  the  Boy- Voice  .     65 

CHAPTER  XL 
The  Technical  Training  of  the  Choir 69 

CHAPTER  XII. 
Rehearsals  and  Rehearsal-Room 74 


PART  III. 

CHAPTER  XIII. 
The  Gregorian  Chant 79 

CHAPTER  XIV. 
How  to  Teach  the  Gregorian  Chant 87 

CHAPTER  XV. 
The  Classic  Polyphony 95 

CHAPTER  XVI. 
Modern  Music 102 

CHAPTER  XVII. 
Congregational  Singing 113 

CHAPTER  XVIII. 
Modern  Hymnody 119 


CONTENTS.  XV 

PAGE 

APPENDIX  I. 
V  Motu  Proprio,"   Pius  X 127 

APPENDIX  II. 
Summary  of  Regulations  Regarding  the  Use  of  the  Organ,  etc.  140 

INDEX. 
Alphabetical  Table  of  Topics ...    147 


PART  I. 

THE  ORGANIZATION  OF  LITURGICAL  CHOIRS. 


CHAPTER  I. 
The  Call  for  Reform  in  Church  Music. 

THE  question  of  our  Church  music  has  become  within  the  last 
year  an  absorbing  topic  for  discussion.  Since  the  publi- 
cation of  the  Mo  tit  proprio,  in  November,  1903,  there  has  been 
much  interesting  speculation  among  the  priests  and  musicians 
as  to  the  precise  meaning  of  the  document.  "  What  does  it 
all  mean?"  they  ask.  "Does  the  Encyclical  really  apply  to 
this  country?  What  is  the  tenor  and  scope  of  the  new  legis- 
lation? Are  we  held  by  it  to  dispense  with  the  services  of 
our  female  singers,  and  to  venture  into  the  unfamiliar  mys- 
teries of  chancel  choirs  and  Plain  Chant?  and,  if  so,  how  are 
we  best  going  to  effect  the  change?" 

Such  queries  are  heard  every  day,  for  there  has  been  con- 
siderable doubt  here  as  to  the  mind  of  the  Holy  Father.  The 
clergy  and  musicians  were  ill-prepared  to  face  an  ordinance 
so  subversive  of  the  existing  conditions,  and  from  this  point 
of  view  it  was  but  natural  to  expect  some  hesitation  and  lack 
of  enthusiastic  response.  Pastors  have  been  so  busily  en- 
gaged here  in  their  priestly  work  that  their  attention  in  many 
cases  had  been  quite  diverted  from  the  importance  of  the  musi- 
cal portion  of  their  services.  The  chief  problem  touching 
upon  Church  music  which  can  be  said  heretofore  to  have  in- 
terested pastors  to  any  great  extent,  was  how  to  keep  the 
members  of  the  choir  in  peaceful  and  amicable  relations,  and 
this  serious,  and  often  impossible,  question  once  solved,  their 


2  MANUAL  OF  CHURCH  MUSIC. 

consciences  have  been  quite  at  peace ;  a  stormy  sea  once  calmed, 
they  were  glad  to  leave  well  enough  alone.  Hence  this  for- 
midable set  of  decrees,  which  demands  that  more  of  their  in- 
terest be  directed  to  the  music,  has  not  met  a  cordial  welcome 
everywhere.  The  loyalty  displayed  in  dealing  with  the  ques- 
tion, however,  and  the  readiness  to  conform  as  soon  as  possi- 
ble to  requirements  of  the  Encyclical  so  universally  expressed, 
give  assurance  that  the  present  endeavor  to  consider  the  prac- 
tical problems  of  the  situation  is  opportune. 

The  custom  of  employing  "  mixed  "  choirs  to  sing  what 
have  come  to  be  called  the  "  Standard  Masses  "  by  some 
strange  incongruity  and  forgetfulness  of  the  true  ideals  of 
ecclesiastical  music,  has  so  long  prevailed  among  us,  that  it 
was  only  with  difficulty  that  some  were  brought  to  see  the 
purpose  and  advantages  of  this  radical  reform. 

Some  Catholics  in  this  country  have  known  no  other  than 
the  "mixed"  choir;  and  at  the  first  suggestion,  a  church 
choir  without  female  voices  seems  an  anomaly  and  an  im- 
possibility; they  are  incredulous  when  told  that  boys — and 
young  boys  of  twelve  and  thirteen  years  of  age — can  fill  the 
place  of  the  trained  and  experienced  women  singers  whom 
the  recent  legislation  of  His  Holiness  has  debarred  from 
singing  as  a  part  of  the  official  choir.  It  would  be  unreason^ 
able  to  expect  that  such  a  state  of  mind  could  easily  and 
immediately  reconcile  itself  to  a  prospect  of  conditions  that 
imply  such  a  different  point  of  view  and  such  new  standards. 
The  Encyclical  must  seem  strange  and  mystifying  to  those 
of  us  who  have  not  yet  realized  how  absolutely  and  completely 
the  present  state  of  our  service-music  contradicts  every  ideal 
and  tradition  of  the  Church. 

The  writer  does  not  forget  that  there  have  been  many  earn- 
est advocates  here  of  the  higher  and  truly  ecclesiastical  stand- 


REFORM  IN  CHURCH  MUSIC.  3 

ard  of  Church  music, — many  whose  souls  have  been  wounded 
and  whose  aesthetic  sense  has  been  offended  by  the  seculariza- 
tion and  extravagance  which  characterize  the  general  tendency 
of  the  music  ordinarily  performed  at  the  liturgical  services. 
There  are  many,  it  is  true,  who  for  years  have  been  trying  to 
excogitate  practicable  plans  for  restoring  sacred  music  to  its 
rightful  place,  whose  obvious  ambition  has  been  to  check  the 
speed  with  which  the  usage  of  our  days  is  receding  from  the 
majestic  simplicity  of  the  Catholic  ritual-music.  But  these 
ardent  enthusiasts  for  better  conditions  have  been  in  the  minor- 
ity. It  is  almost  impossible  to  avoid  concluding,  from  the 
music  sung  in  most  of  our  churches,  that  the  characteristic 
attitude  of  those  who  have  had  the  direction  of  it  has  not  been 
one  of  earnest  solicitude  for  the  highest  and  truest  ideals  of  the 
Catholic  tradition. 

From  this  state  of  indifference  His  Holiness  has  awakened 
us.  He  has  told  the  world,  with  the  full  weight  of  his  apos- 
tolic authority,  that  music  has  an  important  place  in  the  liturgy 
of  the  Church,  and  that  it  must  be  guarded  and  attended  with 
the  earnest  care  which  is  due  any  integral  part  of  the  sacred 
offices.  He  has  defined  with  careful  precision  the  criteria  by 
which  musical  compositions  shall  be  judged  worthy  or  un- 
worthy of  performance  within  the  sacred  edifice.  He  has 
ordered  banished  forever  from  our  churches  all  that  detracts 
in  any  way  from  the  solemnity  of  the  divine  services;  he  has 
published  "  with  certain  knowledge,"  a  number  of  canons  in 
the  form  of  a  "  juridical  code  of  sacred  music,"  and  he  has 
imposed  "  its  scrupulous  observance  upon  all." 

These  decrees  call  for  a  root-and-branch  reform;  they  in- 
volve so  complete  a  change  from  the  former  condition  that 
those  concerned  have  been  puzzled  as  to  just  where  to  begin. 
But  it  is  evident  that  the  meaning  of  the  legislation  and  prac- 


4  MANUAL  OF  CHURCH  MUSIC. 

ticable  ways  for  its  observance  in  our  somewhat  difficult  situ- 
ation are  gradually  becoming  clearer.  Our  clergy  have  shown 
so  much  good-will  toward  the  wish  of  the  Holy  Father,  that 
we  could  not  remain  long  without  finding  some  means  of  cop- 
ing with  the  difficulties  which  at  first  sight  seem  to  make 
impracticable  a  literal  observance  of  the  Encyclical.  In  many 
dioceses  commissions  have  been  appointed  to  draw  up  the 
plans  best  suited  for  carrying  out  the  reforms  in  their  various 
localities.  Already  signs  of  a  movement  in  the  right  direction 
have  appeared  which,  although  they  are  only  beginnings,  in- 
dicate a  growing  appreciation  of  the  principles  to  which  the 
Motu  proprio  has  so  forcefully  directed  our  attention,  and 
give  hope  that  in  the  near  future,  our  Church  music  will  be 
thoroughly  purged  of  all  the  unbecoming  features  of  the 
present-day  style. 

With  the  new  light  that  has  come,  and  with  the  Encyclical 
as  a  guide,  it  should  not  require  much  thought,  if  people  will 
look  fairly  into  the  question,  to  see  that  there  is  a  wide  hiatus 
between  the  music  performed  in  most  of  our  churches  and 
the  holy  end  to  which  it  should  be  consecrated.  Reasonable 
contrasting  of  the  established  ideals  of  sacred  music  with  the 
style  of  compositions  and  the  method  of  producing  them  which 
have  been  in  vogue  here,  must  reveal  in  the  end  that  it  is  but 
the  rare  exception  to  find  any  even  slight  proportion  between 
them.  We  feel  that  this  fact  is  becoming  more  generally 
appreciated. 


CHAPTER  II. 

The  Recent  Legislation  Concerning  the  Personnel  of 
Church  Choirs. 

THE  crucial  point  of  the  present  situation  arises  from  some 
uncertainty  as  to  the  decree  which  requires  the  use  of 
boys  instead  of  women  in  the  soprano  and  contralto  parts. 
Perhaps  the  reason  behind  this  legislation  may  not  be  so  evi- 
dent as  the  principle  which  demanded  a  purer  style  of  ecclesias- 
tical song.  At  any  rate,  there  can  scarcely  be  any  doubt  that 
it  is  a  lack  of  understanding  of  the  ideal  here  in  question,  and 
the  timidity  with  which  those  concerned  approach  the  difficul- 
ties involved  in  conforming  to  it,  that  are  the  greatest  obstacles 
to  the  progress  of  the  reform.  One  can  hardly  avoid  the  sus- 
picion that  there  has  been  a  good  deal  of  interpreting,  modify- 
ing and  explaining  away  of  this  decree  on  the  part  of  those 
who  have  never  taken  a  copy  of  the  Pope's  letter  and  sat  down 
before  it  to  study  out  its  meaning.  The  decree  itself  is  so 
clear  as  to  preclude  any  possibility  of  misinterpretation : 
"  Whenever,  then,  it  is  desired  to  employ  the  acute  voices  of 
sopranos  and  contraltos,  these  parts  must  be  taken  by  boys,  ac- 
cording to  the  most  ancient  usage  of  the  Church."  The  note 
that  is  struck  in  the  concluding  phrase,  "  according  to  the 
most  ancient  usage  of  the  Church/'  is  dominant  throughout 
the  Pope's  decree.  In  a  preceding  canon  he  asserts  that  "  with 
the  exception  of  the  melodies  proper  to  the  celebrant  at  the 
altar,  and  to  the  ministers,  which  must  be  always  sung  in 

(5) 


6  MANUAL  OF  CHURCH  MUSIC. 

Gregorian  chant  and  without  the  accompaniment  of  the  organ, 
all  the  rest  of  the  liturgical  chant  belongs  to  the  choir  of 
levites,  and,  therefore,  singers  in  church,  even  when  laymen, 

are  really  taking  the  place  of  the  ecclesiastical  choir 

On  the  same  principle  it  follows  that  singers  in  church  have  a 
real  liturgical  office,  and  that  therefore  women,  as  being  in- 
capable of  exercising  such  office,  cannot  be  admitted  to  form 
part  of  the  choir." 

Being  Catholics,  we  are  accustomed  to  the  use  of  authority; 
we  do  not  argue  about  it.  And  apart  from  the  consideration 
of  the  pros  and  cons  a  decree  of  the  Holy  Father  determines 
finally  our  course  of  action.  But,  as  is  always  the  case,  there 
are  valid  reasons  behind  this  authoritative  pronouncement. 
The  story  of  the  development  of  ecclesiastical  chant  shows  that 
from  the  very  beginning  there  was  a  marked  tendency  to  con- 
fine the  music  of  the  liturgical  services  to  a  selected  body  of 
male  singers.  In  320  the  Council  of  Laodicea  decreed,  that 
"  No  one  is  to  sing  in  the  church  but  the  canonical  singers 
who  mount  the  lectern  and  sing  from  the  book."  Leo  the 
Great,  in  the  next  century,  established  a  choir  of  men  to  chant 
the  canonical  hours,  and  later,  we  note  the  rise  of  scholae 
cantorum  for  the  training  of  the  boys  and  men  who  were 
selected  to  sing  at  the  ecclesiastical  functions.  The  fact  that 
these  singers  bore  the  title  of  subdeacons  is  significant  of  the 
estimation  in  which  their  office  was  held.  The  words  of  Mr. 
Edward  Dickinson,  perhaps  the  most  eminent  historian  of  wor- 
ship music  in  this  country,  are  to  the  point :  x  "  It  is  certainly 
noteworthy,"  he  says,  "  that  the  exclusion  of  the  female  voice 
which  has  obtained  in  the  Catholic  Church  throughout  the 
Middle  Age,  in  the  Eastern  Church,  in  the  German  Protestant 
Church,  and  in  the  cathedral-service  of  the  Anglican  Church, 
.  Hi  ■  History  (J  the  Western  Church,  p.  ;;o. 


PERSONNEL  OF  CHURCH  CHOIRS.  y 

was  also  enforced  in  the  temple  worship  of  Israel.  The  con- 
viction has  widely  prevailed  among  the  stricter  custodians  of 
religious  ceremony,  in  all  ages,  that  there  is  something  sensu- 
ous and  passionate  (I  use  these  words  in  their  simpler  original 
meaning)  in  the  female  voice — something  at  variance  with  the 
austerity  of  ideal  which  should  prevail  in  the  music  of  wor- 
ship. Perhaps,  also,  the  association  of  men  and  women  in 
the  sympathy  of  so  emotional  an  office  as  that  of  song  is  felt 
to  be  prejudicial  to  the  complete  absorption  of  mind  which  the 
sacred  function  demands.  Both  these  reasons  have  undoubt- 
edly combined  in  so  many  historic  epochs  to  keep  all  the  offices 
of  ministry  in  the  House  of  God  in  the  hands  of  the  male  sex. 
On  the  other  hand,  in  the  more  sensuous  cults  of  paganism, 
no  such  prohibition  has  existed." 

The  principle  which  debars  women  from  participating  in 
the  functions  of  the  official  choir,  fits  in  with  the  whole  liturgi- 
cal economy  of  the  Church.  The  male  choir  is  the  best  fitted 
to  accompany  the  liturgical  offices,  for  there  is  a  peculiarly 
religious  timbre  in  the  concert  of  the  boys'  pure  soprano  and 
alto  voices  with  the  heavier  voices  of  the  men.  The  spiritual 
effects  possible  to  such  a  chorus  are  quite  impossible  to  a 
chignon-  choir.  The  charm  of  a  boy's  well-trained  voice  sing- 
ing at  the  Holy  Sacrifice  and  at  the  other  sacred  services,  is 
quite  indescribable;  its  power  is  marvelous  and  mysterious; 
it  seems  to  tell  of  holiness  and  simplicity.  There  is  a  plaintive 
sweetness  about  it  that  appeals  to  the  souls  of  the  worshipers, 
and  helps  them  to  realize  the  sacredness  of  their  surroundings ; 
it  has  power  wonderfully  to  inspire  a  sense  of  the  sublime 
beauty  of  the  ritual  and  to  call  forth  floods  of  unawakened 
religious  sentiment.  Some  years  ago  Canon  Oakeley  was 
quoted  in  the  Dublin  Review  as  follows ; 


8  MANUAL  OF  CHURCH  MUSIC. 

"  There  is  something  about  the  voices  of  boys  which  is  pre- 
eminently suited  to  the  true  idea  of  Christian  praise,  whereas  it 
is  exceedingly  difficult  for  singers  of  the  other  sex,  especially 
when  accustomed  to  professional  exhibitions,  to  tone  down  their 
mode  of  execution  to  the  ecclesiastical  standard.  It  will  be  said, 
I  know,  that  male  singers  who  have  passed  from  the  age  of  boy- 
hood are  liable  to  the  same  serious  defect.  This  I  do  not  deny; 
but  it  is  a  great  point  to  have  even  one-half  of  a  choir  free  from 
it;  while,  if  I  be  right  in  supposing  that  by  the  substitution  of 
boys  for  females  in  the  treble  parts  the  whole  choir  would  be 
gradually  purified  and  Catholicized,  there  would  be  a  remote  ten- 
dency in  such  a  change  to  give  a  more  ecclesiastical  character  to 
the  musical  services  in  general." 

Travelers  who  have  heard  the  boy-voice  developed  to  its  rich- 
est possibilities — as  at  Farm  Street,  Westminster  Cathedral, 
Bfompton  Oratory,  St.  Paul's  Cathedral  (Anglican),  London, 
etc.,  agree  unanimously  that  it  is  in  every  detail  and  quality 
thoroughly  religious  and  ecclesiastical.  And  yet  we  meet  peo- 
ple here  who  are  strangely  opposed  to  boy-choirs.1  "  Boys 
can  do  only  mediocre  work,"  is  their  argument;  but  one  never 
hears  such  an  opinion  from  those  who  have  listened  to  a 
thoroughly-trained  boy-choir.  It  is  a  misfortune  that  some 
of  the  Catholic  sanctuary  choirs  here  have  not  been  organized 
or  directed  on  anything  like  a  scientific  basis.  There  has 
been  a  good  deal  of  mediocre,  if  not  inferior,  work  done  at 
times,  with  the  natural  result  of  prejudicing  people  against 
the  idea.  It  is  almost  impossible  to  exaggerate  the  effects 
which  can  be  produced  with  properly  taught  choirs,  and  it  is 
the  earnest  hope  of  those  most  interested  in  this  renaissance  of 
holy   traditions  and  better  principles   of   Church  music,  that 

1  "  Boy-choir"  has  come  to  be  used  as  a  technical  term  designating  a 
choir  of  boys  and  men. 


PERSONNEL  OF  CHURCH  CHOIRS.  9 

those  engaged  in  forming  and  directing  these  new  choirs  will 
make  their  work  a  demonstrative  argument,  to  all  who  fre- 
quent their  services,  of  the  advantage  of  this  reform. 

It  is  sad  to  realize  that  we  Catholics  have  let  slip  through 
our  fingers  the  rich  heritage  of  the  purer  traditions  of  wor- 
ship music,  and  that  on  being  summoned  to  readjust  our 
customs  to  these  traditions,  we  are  driven  to  look  outside  the 
fold  for  assistance.  The  affectionate  care  which  has  been 
bestowed  upon  the  music  of  other  churches — especially  by  the 
directors  of  the  choral  services  of  the  Anglican  Church — has 
done  much  which  will  help  us  in  confronting  the  difficulties 
of  perfecting  our  own  Church  music.  For  it  must  be  con- 
fessed that,  with  the  exception  of  the  Caecilien-Verein  and 
the  Solesmes  School  of  Plain  Chant,  there  are  few  institutions 
which  have  treasured  up  the  traditions  of  the  old  Catholic 
centuries  and  perpetuated  what  may  be  called  the  classical 
music  of  the  Church.  And  even  these  two  schools  just  named, 
though  they  help  us  in  repertory,  as  shall  be  seen  in  the  proper 
place,  give  comparatively  little  assistance  in  the  distinctive 
training  of  boys'  voices,  for  reasons  more  or  less  obvious. 

"  It  is  very  interesting,  and  no  doubt  very  profitable  to  talk 
about  the  superiority  of  Gregorian  and  Palestrinesque  music, 
and  the  unique  fitness  of  the  boy-choir  for  church  purposes," 
is  a  common  objection  in  these  days;  "but  how  are  we,  here 
in  America,  a  missionary  country — where  the  Church  is  still 
in  its  brick-and-mortar  stage,  where  we  have  been  glad  and 
grateful  to  furnish  any  kind  of  a  respectable  service — how 
can  we  here  and  now  make  a  change  which  involves  such 
difficulties  and  so  many  unpleasant  issues?" 

It  is  this  practical  view  of  the  reform  that  is  the  stumbling- 
block  to  many  priests  who  have  expressed  a  ready  willingness 
to  enforce  the  decrees  in  their  parishes.     They  are  frightened 


IO  MANUAL  OF  CHURCH  MUSIC. 

at  the  face-difficulties  of  the  situation ;  and,  as  has  already  been 
said,  the  timidity  with  which  they  have  been  proceeding  is 
largely  responsible  for  the  comparatively  little  progress  made. 
That  there  are  some  difficulties  in  the  way  of  an  immediate 
compliance  with  the  letter  of  the  law,  even  the  ultra-enthusiasts 
of  the  movement  readily  admit.  But  it  must  be  stated,  too, 
that  for  the  average  city  church,  the  installation  and  main- 
taining of  effective  Gregorian  chancel  choirs  is  much  easier 
of  accomplishment  than  the  present  attitude  of  some  of  the 
clergy  would  indicate. 

Whatever  be  the  initial  difficulty  connected  with  the  dis- 
banding of  the  established  mixed  choirs,  and  the  organization 
of  the  others,  it  should  be  remembered  that  the  results  are 
worth  infinitely  more.  Loyalty  to  our  Holy  Father  is  at  stake, 
as  well  as  the  decorum  of  the  divine  services. 

It  is  the  hope  of  the  Editors  that  this  brochure  will  in  some 
way  contribute  to  further  a  sympathetic  discussion  of  the  prac- 
tical problems  which  the  clergy  and  musicians  are  called  upon 
to  meet  and  solve  in  the  present  crisis. 


CHAPTER  III. 
The  Organization  of  a  Choir. 


THE  musical  equipment  of  the  average  city  church  is  some- 
thing like  this  :  there  is  a  good  pipe-organ  in  the  choir-loft, 
and  an  organist  (frequently  a  woman)  of  fair  talent  and  some 
musical  erudition;  the  personnel  of  the  choir  includes  a  paid 
quartet,  or  at  least  some  singers  who  receive  reimbursement,, 
and  a  chorus  of  men  and  women  of  the  parish,  who  are  usually 
willing  and  reliable.  The  musical  library  consists  of  a  col- 
lection of  the  so-called  "  Standard  Masses,"  and  many  figured 
musical  settings  of  the  most  frequently  recurring  offices  and 
anthems ;  Palestrina  or  the  later  composers  of  the  strict  contra- 
puntal school  are  but  feebly  represented  upon  its  shelves,  and 
anything  like  an  equipment  for  Gregorian  services  is  con- 
spicuously wanting.  The  pastor  may  think,  further,  that  there 
are  but  few  boys  in  the  parish  who  seem  to  be  available  for 
choir  purposes.  Finally  the  church  is  built  most  likely  with- 
out a  chancel,  and  the  seating  of  a  sanctuary-choir  would  be 
a  difficult  problem. 

Most  priests  conduct  their  choral  services  with  an  outfit 
something  like  the  one  just  outlined,  and  they  are  asking  them- 
selves questions  like  these :  "  In  dismissing  my  mixed  choir  x 

1-1  Mixed  choirs"  is  not  used  here,   and  throughout  this  book,   in  its 
technical  but  rather  in  its  popular  meaning,  i.  e.,   a  choir  of  men  and 


women. 


(ii) 


12  MANUAL  OF  CHURCH  MUSIC. 

will  I  not  be  abandoning  a  sure  means  of  conducting  Solemn 
Mass  and  Vespers  for  a  very  uncertain  means?  What  assur- 
ance have  I  that  a  sufficient  number  of  boys  and  men  can  be 
secured,  and  that  it  will  be  possible  to  maintain  a  sanctuary 
choir  for  a  number  of  years  in  this  parish?  Must  the  organ 
in  the  gallery  be  brought  down  and  crowded  into  the  apse?" 
These  and  such  like  are  the  questions  that  are  demanding  an- 
swers now  and  until  they  are  answered,  it  is  vain  to  hope  for 
a  general  introduction  of  the  reforms. 

The  subject  that  naturally  is  of  paramount  importance  here 
concerns  the  material  which  is  to  make  up  these  liturgical 
choirs.  Boys  and  men  must  be  secured  who  will  prove  effi- 
cient and  reliable  singers;  and  not  only  must  provision  be 
made  for  the  first  beginnings  of  a  choir,  but  a  plan  must  be 
predetermined  upon  for  replenishing  the  choir  with  fresh 
voices. 

II. 

HOW    TO    ORGANIZE    THE    BOYS'    SECTION. 

First,  then,  as  to  the  actual  organization  of  the  boys'  section 
of  the  choir.  Where  can  we  get  suitable  choristers?  The 
answer  to  this  question  is  based  upon  two  facts, — first,  in  the 
average  city  parish  there  is  a  parochial  school  or  at  least  a 
Sunday-school  of  fair  size;  secondly,  every  boy  between  the 
ages  of  nine  and  fifteen,  who  has  a  musically  correct  ear,  and 
sound  vocal  organs,  is  a  possible  chorister-boy. 

Perhaps  it  is  well  to  advert  here  to  the  fact  that  there  is  a 
very  large  area  in  the  United  States  where,  on  account  of  the 
extreme  paucity  of  the  Catholic  population,  and  the  insuffi- 
ciency of  resources,  the  parochial  school  system  has  been  but 
inchoately  developed.  Dioceses  in  this  area  can  scarce  reason- 
ably be  held  to  a  literal  compliance  with  the  recent  decrees. 


THE  ORGANIZATION  OF  A  CHOIR.  ^ 

But  an  examination  of  the  conditions  of  the  churches  in 
the  cities  and  towns  of  our  flourishing  dioceses  reveals  that  it 
is  quite  possible,  and  in  fact  comparatively  easy,  for  very  many 
parishes  to  secure  plenty  of  good  choir  material.  The  statis- 
tics of  one  diocese,  picked  at  random  from  a  number  where 
the  general  conditions  are  about  the  same,  will  serve  as  an  il- 
lustration. Taking  the  reports  of  the  English-speaking  par- 
ishes only,  we  find  that  in  the  four  parishes  of  the  diocesan 
seat,  there  are  three  schools,  one  including  129  boys,  another 
50,  and  the  third  69.  Four  other  towns  make  the  following 
reports : 

(a)  4  parishes;  3  schools  of  92,  73,  and  221  boys. 

(b)  1  parish;  a  school  of  130  boys. 

(c)  2  parishes;  2  schools  of  80  and  102  boys. 

(d)  1  parish;  a  school  of  168  boys. 

Comparing  these  figures  with  the  facts  that  almost  every 
boy  can  be  developed  by  assiduous  and  careful  training  into 
an  acceptable  singer,  and  that  a  choir  of  thirty  boys  is  adequate 
for  any  of  our  churches,  it  becomes  quite  evident  that,  in  the 
diocese  just  referred  to,  and  in  very  many  of  which  it  is  a 
type,  the  average  parish  can  get  a  supply  of  boys'  voices 
without  much  difficulty. 

The  parochial  schools,  and  where  these  are  wanting,  the 
Sunday-schools,  are  the  sources  from  which  our  choir-boys  in 
most  cases  must  be  selected.  In  these,  boys  are  ready  at  hand, 
and,  with  an  occasional  exception,  in  sufficient  numbers  to  al- 
low of  careful  discrimination  in  the  choosing.  Catholic  boys 
are  glad  to  sing  in  their  churches,  and  rarely  express  any 
serious  disinclination  to  the  various  functions  and  obligations 
which  the  office  imposes  upon  them.  The  school  undoubtedly 
will  solve  the  problem  of  inhere  to  get  boys  for  most  priests; 
further  argument  about  this  is  unnecessary.     What  boys  to 


14 


MANUAL  OF  CHURCH  MUSIC. 


accept,  and  how  to  judge  of  their  efficiency  and  capability  are 
questions  that  require  more  detailed  consideration. 

What,  then,  is  the  criterion  of  a  boy's  possibilities  as  a 
chorister?  If  a  choirmaster  must  judge  of  a  boy's  availability 
by  the  present  sweetness  of  his  voice,  and  the  present  fluency 
of  his  solfa-^ing,  then,  indeed,  the  question  of  organizing  boy- 
choirs  is  effectually  closed.  If  the  ultimate  criterion  of  a  boy's 
suitability  for  choir  purposes  is  the  state  in  which  his  voice 
development  is  found  to  be  upon  examination;  and  if  we  are 
to  proceed  upon  the  principle  of  demanding  a  proof  of  results 
already  attained,  and  of  rejecting  all  applicants  who  do  not 
show  themselves  ready  for  immediate  service,  then  those  who 
are  urging  the  installation  of  these  new  choirs,  here,  and  exert- 
ing themselves  to  point  out  the  possibility  of  it,  have  associated 
themselves  with  a  vain  cause.  But  it  is  not  so.  The  criterion 
of  boys'  usefulness  in  the  choir  is  not  quite  so  unreasonable. 
Were  it  so,  a  chorister  boy  must  needs  be  found  ready-made, 
with  all  such  qualifications  as  perfect  tonal  production,  actual 
musical  training,  experience,  and  the  rest.  And  yet  we  ven- 
ture to  say  that  it  has  been  a  common  enough  idea  among 
musicians  (most  probably  not  more  than  a  vague,  half-defined 
idea)  that  only  such  boys  could  be  made  effective  members  of 
the  choir.  Many  have  never  realized  that  very  often  the 
prize  material  of  a  choir  is  made  up  of  boys  who  upon  their 
entrance  examination  displayed  a  minimum  of  capability. 
Choir-boys  are  made,  not  born.  Every  healthy  boy  who  can 
follow  the  intervals  of  the  gamut, — who  does  not  repeat  the 
same  note  eight  times  thinking  himself  to  be  rendering  an 
ascending  scale — is  an  available  choir-boy,  other  things  being 
equal.  Dr.  Madeley  Richardson,  of  St.  Saviour's  Collegiate 
Church,  London,  in  discussing  the  kind  of  boys  that  may  be 
used,  writes  as  follows : 1 

1  Church  Music,  pp.  58,  59. 


THE  ORGANIZATION  OF  A  CHOIR.  lc> 

"  With  the  mixed  choir  much  depended  upon  securing  singers 
already  qualified,  who  simply  required  a  little  preparation  for  their 
choir  duties ;  with  boys  everything  depends  not  so  much  upon  the 
selecting  and  securing  of  voices  as  upon  the  efficient  training  of 
the  individuals  when  secured.  This  was  not  in  the  least  under- 
stood when  boy-choirs  were  first  introduced;  *  indeed  it  is  very 
far  from  being  grasped  by  the  average  church-goer  now.  The 
widely  prevalent  notion  still  is  that  boys'  voices  are  naturally 
good,  bad,  or  indifferent,  and  that  whatever  they  are  to  start 
with  that  they  will  remain;  the  actual  fact  being  that  it  is  pos- 
sible by  proper  and  skilful  teaching  to  make  almost  any  boy's 
voice  sound  perfectly  well  and  satisfactory,  and  that  the  one 
condition  essential  to  success  in  a  boys'  choir  is  a  competent  and 
expert  teacher.  ...  In  selecting  boys  it  must  be  remembered 
that  it  is  next  to  impossible  to  tell  what  a  raw  voice  may  be 
capable  of  after  training.  Cases  of  really  hopeless  material  are 
very  rare.  .  .  .  Do  not  be  guided  by  the  sound  of  a  boy's  voice 
so  much  as  by  his  general  appearance  and  personal  character. 
Choose  quick,  lively,  intelligent  boys;  avoid  heavy,  sulky,  and 
stupid  ones." 

Of  course  boys  who  have  absolutely  nothing  of  musical  in- 
stinct must  not  be  accepted;  they  are  worse  than  useless,  be- 
cause they  constantly  and  irremediably  sing  off  the  pitch.  A 
few  such  boys  in  a  choir  would  suffice  to  turn  the  most  glori- 
ous harmonies  into  a  hideous  cacophony. 

Apropos  of  the  selection  of  boys,  Mr.  G.  Edward  Stubbs, 
choirmaster  and  organist  of  St.  Agnes'  Chapel,  Trinity  Parish, 
New  York,  writes : 2 

"  Boys  are  useful  as  choristers  when  they  are  between  the  ages 

1  Dr.  Richardson  refers  to  the  introduction  of  boy-choirs  into  the  Angli- 
can churches. 
'l  Training  of  Choir  Boys,  p.  20. 


1 6  MANUAL  OF  CHURCH  MUSIC. 

of  ten  and  sixteen  years.  Under  ten,  although  they  may  possess 
good  voices,  they  are  too  young  to  evince  sufficient  musical  and 
general  intelligence  to  be  of  much  service.  Over  sixteen,  their 
voices  are  on  the  verge  of  mutation.  .  .  .  Bright,  nervous, 
energetic  boys  who  are  fond  of  music  make  the  best  choristers. 
Those  who  are  naturally  indolent  or  deficient  in  musical  instinct 
should  be  habitually  avoided,  even  if  they  have  superior  voices. 
Boys  of  steady  habits  and  fixed  purposes  are  especially  desir- 
able, because  they  are  not  likely  to  give  up  their  choir  duties  after 
the  novelty  of  singing  has  somewhat  abated.  Changeable  choris- 
ters are  highly  undesirable." 

Monsieur  Philippe  Bellenot,  the  maitre  of  the  famous  choir 
at  St.  Sulpice,  says  that  he  takes  boys  when  they  are  nine  or 
ten.  "  Very  little  importance,"  he  writes,  "  is  attached  to 
their  musical  acquirements,  often  insignificant,  but  we  are 
careful  to  select  those  who  have  a  good  ear." 

III. 

HOW    TO    ORGANIZE    THE    ADULT    SECTION. 

The  men's  section  is  made  up  of  singers  who  live  within  the 
parish  limits.  These  men  form  the  substratum  of  the  adult 
portion  of  a  choir,  and  for  many  reasons,  such  as  their  proxi- 
mity to  the  church  and  their  local  interest  in  the  parochial 
institutions,  they  should  be  urged  to  join.  Churches  that  have 
strong  sodalities  of  men  have  in  these  a  valuable  source  from 
which  to  draw  the  senior  members.  Priests  may  find  some 
difficulty  at  first  in  securing  a  full  number  of  adult  voices,  for 
not  a  few  men  are  strangely  timid  about  exercising  the  vari- 
ous liturgical  functions  imposed  by  the  ceremonial,  and  some 
are  frightened  at  the  first  prospect  of  being  robed  in  cassock 
and  surplice.  With  a  little  ingenuity  and  patience,  however, 
a  priest  can  soon  remove  all  such  apprehensions.     As  a  rule, 


THE  ORGANIZATION  OF  A  CHOIR. 


17 


these  only  exist  in  districts  where  chancel  choirs  have  been 
wholly  unknown,  and  after  a  time  these  fears  disappear  of 
themselves.  It  has  been  said  that  some  Catholic  singers  re- 
fuse to  sing  with  boys,  "  because  it  is  too  much  of  a  humilia- 
tion." Such  individuals  should  scrupulously  be  kept  out  of 
a  choir,  for  they  can  but  lower  its  spiritual  tone  and  blunt  its 
enthusiasm.  Dispirited,  unenthusiastic  people  are  not  the 
right  material  for  such  loyal  and  self-sacrificing  service  as 
Catholic  chancel-singers  are  called  upon  to  give.  The  young 
men  of  the  parish  are  generally  more  to  be  depended  upon 
than  their  seniors  of  the  former  mixed  choir.  It  is  not  diffi- 
cult to  arouse  the  interest  of  these  younger  men;  and  if  some 
inducements  are  offered,  much  good  talent  can  be  obtained. 

After  a  choir  has  been  organized  a  few  years,  the  men's 
section  will  be  reinforced  by  quondam  boy-choristers,  who 
commonly  return  to  their  choir  duties  when  their  voices  have 
changed.  A  well-known  writer  on  "  Church  Choirs "  has 
said  that,  "  the  effect  of  educating  boys  for  the  service  of  the 
choir  will  be  that  of  supplying  facilities  for  obtaining  male 
singers  to  take  the  lower  parts  as  time  goes  on.  Some  of  the 
best  tenors  and  basses  in  our  London  Catholic  choirs  have 
been  choristers  in  Catholic  churches  in  their  earlier  years,  and 
the  great  advantage  which  they  enjoy  over  singers  who  have 
not  had  this  preparation  is  that  they  are  thoroughly  acquainted 
with  the  ecclesiastical  portion  of  their  work."  It  is  certainly 
noteworthy  that  those  who  have  entered  a  choir  as  boys  are 
frequently  its  most  enthusiastic  supporters  and  very  reluctantly 
give  up  active  service  when  business  occupations  or  change  of 
residence  prevent  regular  attendance  at  the  rehearsals. 

The  number  of  men  required  will  be  determined  by  the 
number  of  soprano  boys.  The  correct  proportion  of  parts 
which  must  be  maintained  will  be  seen  in  a  further  chapter. 


18  MANUAL  OF  CHURCH  MUSIC. 

With  regard  to  the  inducements  which  will  serve  to  ensure  a 
supply  of  men  when  it  is  impossible  to  offer  any  financial 
reimbursement,  Mr.  Stubbs  writes : 

"  There  are,  nevertheless,  many  parishes  of  limited  means 
where  the  payment  of  numerous  salaries  is  out  of  the  question. 
In  such  places  the  success  of  a  choir  depends  upon  the  personal 
influence  of  the  rector  and  the  musical  abilities  of  the  choir- 
master. When  no  salaries  are  paid,  the  incentives  to  choir 
work  are :  first,  sense  of  duty  in  helping  on  the  church  by  volun- 
teer performance;  secondly,  musical  interest  engendered  by  the 
choirmaster  through  his  successful  training,  leading  on  to  a 
desire  to  sing  from  educational  motives  and  for  musical  pleasure. 
However  selfish  this  latter  incentive  may  seem,  it  is  practically 
the  one  to  which,  on  the  choirmaster's  part,  chief  attention  must 
be  paid.  .  .  .  The  better  the  choir,  the  greater  will  be  the  num- 
ber of  volunteer  singers." 

Offer  the  men  a  good,  practical  and  theoretical  musical  edu- 
cation. Propose  concerts  and  oratorio  work.  Promise  to  be 
fair  in  assignments  to  the  Requiem  and  Nuptial  High  Masses. 
Many  young  men  Avill  be  attracted  to  a  choir  that  offers  good 
opportunities  of  developing  and  using  their  musical  talent. 
The  rehearsal  hours  can  be  made  instructive  and  recreative  to 
the  highest  degree,  if  the  choirmaster  or  the  priest  in  charge 
is  at  all  ingenious.  Short  talks  on  the  life  and  influence  of 
the  composers  whose  works  the  choir  is  studying;  systematic 
and  careful  study  of  excerpts  from  the  compositions  of  the 
masters ;  occasional  "  smokers,"  sociable  meetings,  etc. ;  all 
these,  and  anything  else  that  promotes  interest,  enthusiasm, 
and  good  feeling,  should  be  considered  powerful  means  of 
drawing  men  to  the  choir.  In  a  word,  if  it  is  known  that 
a  choir  is  conducted  on  thoroughly  modern  and  up-to-date 
methods,  there  will  always  be  plenty  of  applicants. 


THE  ORGANIZATION  OF  A  CHOIR.  IO/ 

"  When  I  began  my  choir,"  says  Mr.  Victor  Hammerel, 
choirmaster  of  the  Church  of  the  Blessed  Sacrament,  Provi- 
dence, Rhode  Island,  "  I  tried  256  boys  and  79  men.  Out 
of  that  number  I  selected  the  best  voices,  and  kept  a  list 
of  those  with  good  voices,  but  who  were  not  needed  just  then. 
All  those  belonged  to  our  parish,  which  is  not  a  very  large  one. 
Now,  after  one  year  of  existence,  the  difficulty  for  me  is  not 
in  finding  singers,  but  in  keeping  them  away." 


CHAPTER  IV. 
The  Number  and  Proportion  of  Voices. 


WHAT  number  of  voices  is  necessary  for  an  effective 
chorus  ? 
It  is  needless  to  answer  that  no  absolute  norm  can  be  estab- 
lished for  guidance  in  this  matter.  The  quantity  and  quality 
of  the  individual  voices,  the  size  and  architectural  form  of 
the  church, — these  and  the  other  things  which  differ  so  in 
various  places  make  impossible  a  standard  which  can  be  ap- 
plied with  success  everywhere.  Yet  it  must  be  said  that  it  is 
a  mistake  to  think  large  choirs  necessary.  The  most  perfect 
boy-choirs  in  the  world  are  comparatively  small.  Mr.  S.  B. 
Whitney,  choirmaster  of  the  Advent  Church,  Boston,  discusses 
this  point  succinctly :  1 

"  It  has  become  quite  the  custom  in  some  of  the  larger  churches, 
especially  in  the  West,  to  have  large  choirs  of  fifty,  seventy-five, 
and  even  a  hundred  voices;  but  this  has  never  been  found 
necessary  in  the  churches  abroad,  and  though  the  church  build- 
ings are  very  much  larger  than  ours,  the  conventional  cathedral 
choir  will  hardly  ever  number  more  than  thirty  or  forty  voices. 
The  choir  of  St.  Paul's  Cathedral,  London,  numbers  fifty-four 
voices,  thirty-six  boys  and  eighteen  men.  If  this  choir  is  ade- 
quate for  a  church  that  can  seat  easily  six  or  eight  thousand 
people,    certainly   we   have   no   call    for   choirs   in   this    country 

1  New  England  Magazine,  April,  1892. 

(20) 


THE  NUMBER  AND  PROPORTION  OF  VOICES.  2I 

numbering  over  thirty  voices.  The  excuse  for  large  numbers 
is  that  a  boy's  voice  by  cultivation  becomes  softer,  and  therefore 
the  more  cultivated  it  becomes  the  greater  will  be  the  number 
of  choristers  required;  certainly  a  mistaken  idea,  for,  as  we  have 
mentioned,  in  all  preliminary  vocal  practice,  the  young  chorister 
is  cautioned  to  sing  softly,  yet  when  the  voice  is  thoroughly  es- 
tablished and  located,  constant  daily  practice  will  soon  make  it  as 
full  and  strong  as  it  ever  was  before ;  besides,  it  is  now  a  musical 
voice,  and  a  musical  tone  will  travel  farther  than  a  mere  noise. 
The  most  noted  and  effective  choirs,  either  in  England  or  on  the 
Continent,  are,  comparatively  speaking,  small  choirs." 

Mr.  John  Spencer  Curwen,  Fellow  of  the  Royal  Academy  of 
Music,  London,  quotes  Dr.  E.  J.  Hopkins  as  deprecating  the 
use  of  large  choirs :  "  Nowadays,"  the  passage  runs,  "  every 
one  is  for  quantity,  no  quality,  and  coarseness  is  a  prevailing 
vice.  We  are  .told  of  surpliced  choirs  of  thirty-six  voices,  and 
if  we  go  to  hear  them,  what  do  we  frequently  find  ?  A  great 
racket  and  shouting,  certainly  not  music." 

The  present  writer  does  not  intend  to  condemn  the  use  of 
large  choruses.  By  no  means;  for  these  are  often  wonder- 
fully effective,  and  produce  results  which  are  altogether  im- 
possible to  smaller  choirs.  He  has  quoted  the  statements  of 
these  eminent  authorities  to  make  it  plain  that  heavy  choruses 
are  not  necessary.  In  great  cathedrals,  however,  the  unison 
parts  of  the  Gregorian  chanting  would  seem  to  call  for  a 
large  number  of  voices.  But,  as  it  is  possible  to  get  excellent 
musical  and  religious  effects  from  large  and  small  choirs  alike, 
the  matter  is  left  to  the  tastes  of  individual  priests  and  choir- 
masters. Monsieur  Bellenot's  famous  choir  at  St.  Sulpice  is 
made  up  of  "  twelve  soprani,  eight  alti,  four  tenors  and  four 
basses,  not  counting  the  seminarians."  The  choir  at  the  new 
Cathedral  at  Westminster  (a  vast  edifice)  numbers  only  forty 


22  MANUAL  OF  CHURCH  MUSIC. 

voices, — sixteen  men  and  twenty- four  boys,  with  eight  of  the 
twenty- four  boys  in  the  probationers'  class;  and  yet  we  are 
hearing  every  day  fresh  reports  of  its  marvelous  effectiveness. 
On  the  other  hand,  there  are  two  well-known  choirs  at  home 
here — the  best  perhaps  in  Catholic  churches — whose  personnel 
includes  anywhere  from  seventy  to  eighty-five  voices, — the 
Boston  Cathedral  sanctuary  choir,  and  the  choir  of  St.  Paul's 
Church,  in  Fifty-ninth  Street,  New  York. 

II. 

The  proper  balancing  of  the  parts  should  be  carefully 
thought  about,  before  a  choirmaster  selects  his  material.  A 
top-heavy  choir  can  never  rise  above  mediocrity.  It  is  abso- 
lutely essential  that  a  correct  proportion  of  voices  be  main- 
tained, and  yet  we  have  had  boy-choirs  here,  in  which  the  so- 
called  alto  section  seemed  to  be  ever  striving  to  divert  attention 
from  the  sopranos,  and  in  which  baritone-tenors  have  been 
introduced  in  such  numbers  as  to  make  it  almost  impossible 
for  the  listener  to  catch  anything  of  the  melodic  theme  in  a 
concerted  piece.  Occasionally,  too,  one  hears  a  choir  where 
the  soprano  boys  seem  to  be  now  stridently  asserting  their 
rights  against  a  disproportionate  section  of  bassos,  and  now 
plaintively  pleading  with  them  for  their  allotted  share  in  the 
ensemble.  A  choir  of  unbalanced  parts  can  produce  only 
indifferent  effects.  A  choirmaster  in  organizing,  then,  should 
first  have  a  definite  idea  of  the  number  of  soprano  boys  he 
expects  to  employ ;  from  this  he  will  be  able  to  determine,  ap- 
proximately at  least,  the  number  of  altos,  tenors,  and  basses 
which  will  be  needed.  A  choir  carelessly  organized  in  this 
respect — and  unfortunately  these  are  not  altogether  unknown — 
always  lacks  that  "  something "  which  gives  such  an  inex- 
plicable charm  to  a  well-balanced  chorus.     The  usual  advice 


THE  NUMBER  AND  PROPORTION  OF  VOICES.  23 

is  this :  sopranos  should  form  one-half  of  the  whole  choir;  the 
basses  should  be  next  in  prominence ;  and  there  should  be  about 
an  equal  number  of  tenors  and  altos.  "As  to  balance  of 
voices/'  says  Dr.  Richardson,  "  the  aim  should  be  to  have 
a  fairly  equal  number  of  each  of  the  three  lower  parts,  with 
a  slight  preponderance  of  basses,  but  a  good  deal  will  always 
depend  upon  the  power  of  individual  voices.  One  bass  voice 
may  occasionally  be  found  which  will  equal  in  volume  of 
tone  three  others;  and  in  these  cases  we  must  be  guided  by 
tonal  rather  than  by  numerical  strength.  The  number  of 
boys'  voices  should  greatly  exceed  that  of  any  one  of  the 
lower  parts.  A  good  balance  is  obtained  when  they  are 
made  to  equal  the  sum  of  all  the  other  voices  together." 
(Dr.  Richardson  evidently  refers  to  choirs  where  the  adult 
male  alto  is  employed.)  Mr.  John  Spencer  Curwen  calls  the  at- 
tention of  his  readers  to  the  following  table  given  by  Mr.  H. 
B.  Roney  of  Chicago,  instructor  of  the  famous  Blatchford 
Kavanagh.1 


Sopranos 

12 

17 

25 

37 

50 

Altos 

4 

5 

7 

11 

14 

Tenors 

4 

5 

8 

11 

14 

Basses 

5 

8 

10 

16 

22 

25  35  5o  75  100 
Mr.  Stubbs  agrees  that  "  when  circumstances  permit,  there 
should  be  as  many  men  as  boys  in  the  choir."  (He,  too,  is 
thinking  of  choirs  where  the  boy-alto  is  not  employed.)  "  For 
example,"  he  continues,  "  to  balance  eighteen  well-trained 
sopranos,  there  should  be  eight  basses,  six  tenors,  and  four 
altos,  if  the  alto  part  be  sung  by  men.  But  voices  differ  so 
much  in  force  and  carrying  power  that  no  definite  rule  can 
1  The  Bays'  Voice,  p.  i5. 


24  MANUAL  OF  CHURCH  MUSIC. 

be  laid  down  as  to  proportion  of  parts.  The  best  results,  how- 
ever, are  obtained  only  where  the  choir  contains  a  full  number 
of  men.  Care  should  be  taken  that  the  alto  and  tenor  parts  be 
not  too  prominent."  Mr.  Stubbs  adds  a  footnote,  which  has 
a  particular  significance  for  our  choirs  which  will  render  so 
many  parts  of  the  services  in  unison :  "  Besides  the  harmonic 
gain,  bold  unison  passages  ring  out  with  telling  effect  when 
the  choir  is  plentifully  supplied  with  adult  voices.  In  small 
choirs,  where  the  boys  are  supported  by  a  few  men,  unison 
music  is  generally  ineffective." 

III. 

This  brings  us  to  another  important  point, — the  necessity  of 
care  in  forming  the  alto  section.  There  has  been  a  general 
enough  tendency  to  slight  this  part  of  the  choir  and  to  minimize 
its  importance.  This  is  not  fair  to  the  alto  voice,  which  is  of 
a  very  telling  timbre  and  must  be  guarded  and  developed  with 
as  much  assiduity  as  the  soprano.  Sometimes,  unfortunately, 
it  has  been  thought  necessary  to  assign  the  alto  parts  to  broken- 
down  trebles,  boys  whose  soprano  notes  have  become  a  pleas- 
ant memory.  This  substitution  of  a  counterfeit  for  the  legi- 
timate alto  can  never  wholly  be  concealed,  for  each  of  the 
four  parts  demands  its  proper  and  distinctive  voice. 

There  has  been  much  discussion  among  musicians  as  to  the 
availability  of  the  boy-alto  voice.  Some  have  even  felt  that 
such  a  voice  is  an  anomaly,  and  that  the  real,  genuine  alto 
quality  which,  it  has  been  thought,  comes  only  with  mature 
physical  development,  is  exceptional  in  boys.  Some  men  emi- 
nent in  boy-choir  work  have  taken  this  side  of  the  controversy, 
while  many  other  noted  directors  have  been  insistent  in  their 
defence  of  the  boy-alto.  The  question  at  best  is  not  decided, 
but    we   judge   from    the   personnel    of   most   choirs    here — 


THE  NUMBER  AND  PROPORTION  OF  VOICES. 


25 


Catholic  and  non-Catholic  alike — that  the  preponderance  of 
opinion  in  this  country  is  for  the  boys.  It  is  important  that 
choirmasters  who  are  about  to  engage  in  sanctuary-choir 
work,  should  be  thoroughly  conversant  with  the  state  of  the 
question. 

The  man-alto  and  the  boy-alto  (we  are  convinced  there  is 
such  a  voice)  are  two  really  distinct  voices;  the  former  is 
merely  a  falsetto  baritone  and  the  latter  is  a  pure  and  natural 
voice.    •  In  this  connection  John  Spencer  Curwen  says : 

"  In  English  cathedrals,  the  alto  part  has  been  given  ever  since 
the  Restoration  to  adult  men,  generally  with  bass  voices  singing 
in  the  '  thin '  register.  .  .  .  For  this  voice  Handel  wrote,  and 
the  listener  at  the  Handel  Festival  cannot  but  feel  the  strength 
and  resonance  which  the  large  number  of  men-altos  give  to  the 
harmony  when  the  range  of  the  part  is  low.  The  voice  of  the 
man-alto,  however,  was  never  common,  and  is  becoming  less  com- 
mon than  it  was.  It  occupies  a  curious  position,  never  having 
been  recognized  as  a  solo  voice.  .  .  .  This  voice  is  entirely  an 
English  institution,  unknown  on  the  Continent.  Historians  say 
that  after  the  Restoration,  when  it  was  very  difficult  to  obtain 
choir-boys,  adult  men  learned  to  sing  alto,  and  even  low  treble 
parts,  in  falsetto  in  order  to  make  harmony  possible. 

"  The  dilemma  is  that  in  parish  churches,  especially  in  country 
districts,  the  adult  male  alto  is  not  to  be  had,  and  the  choice  is 
between  boy-altos  and  no  altos  at  all.  There  is  no  doubt,  more- 
over, that  the  trouble  of  voice  management  in  the  boy-altos  can 
be  conquered  by  watchfulness  and  care." 

Mr.  Curwen,  in  preparing  his  book  on  The  Boy's  Voice,  has 
collected  much  information  on  this  subject.  We  will  here 
quote  two  extracts  of  letters  which  he  received  from  English 
boy-choir  directors.  Mr.  Taylor,  organist  of  New  College, 
Oxford,  is  quoted  as  follows:  "I  can  confidently  recommend 


26  MANUAL  OF  CHURCH  MUSIC. 

boy-altos  in  parish  or  other  choirs,  provided  they  are  carefully 
trained."  And  Dr.  Garret,  organist  of  St.  John's  College, 
Cambridge,  writes,  in  part : 

"  If  I  could  have  really  first-class  adult  altos  in  my  choir,  I 
should  not  think  of  using  boys'  voices.  At  the  same  time,  there 
are  some  advantages  on  the  side  of  boys'  voices.  ( I )  Unless  the 
adult  alto  voice  is  really  pure  and  good,  and  its  possessor  a  skilled 
singer,  it  is  too  often  unbearable.  (2)  Under  the  most  favorable 
conditions,  it  is  very  rare,  according  to  my  experience,  to  find  an 
alto  voice  retaining  its  best  qualities  after  middle  age.  (3)  The 
alto  voice  is  undoubtedly  becoming  rare. 

"  On  the  other  side,  you  have  to  consider:  (1)  The  limitation 
in  choice  of  music,  as  there  is  a  good  deal  ...  in  which  the 
alto  part  is  beyond  the  range  of  any  boy's  voice.  (2)  A  lack  of 
brightness  in  the  upper  part  of  some  trios,  etc." 

It  is  not  to  the  purpose  to  go  further  into  this  controversy. 
It  is  sufficient  to  have  indicated  that  there  are  valid  reasons 
for  both  sides.  For  our  present  practical  purposes  there  can 
scarcely  be  any  doubt  about  the  advisability  of  using  boy-altos. 
The  writer  has  visited  many  choirs  in  which  there  is  excellent 
material  for  good  alto  sections  among  the  boys.  Two  of  the 
most  remarkable  boy  singers  he  has  had  the  pleasure  of  listen- 
ing to  were  altos. 

Mr.  J.  C.  Ungerer,  of  the  New  York  Cathedral,  expresses 
it  as  his  opinion  that  "  the  use  of  adult  male  altos  should  not 
be  encouraged;  although  they  answer  the  purpose  when  com- 
petent readers  (boys)  cannot  be  found."  And  Mr.  A.  B. 
Meyers,  choirmaster  of  St.  Vincent's,  South  Boston,  writes, 
"  Men-altos  are  desirable  from  the  point  of  view  of  expediency, 
but  the  rich  quality  of  the  real  boy-alto  is,  in  my  opinion, 
preferable."     Mr.  Meyers  adds,  that  he  thinks  this  real  boy- 


THE  NUMBER  AND  PROPORTION  OF  VOICES.  27 

alto  a  very  rare  voice,  and  admits  that  he  finds  it  necessary 
"  to  take  larger  boys  from  the  soprani  to  fill  up  the  ranks 
of  the  alti." 

Mr.  Hammerel  of  Providence  expresses  himself  as  "  de- 
cidedly against  using  adult  male  altos,"  and  finds  no  trouble 
in  securing  good  boy-altos  and  more  than  enough.  Some- 
times, however,  one  is  driven  by  circumstances  to  give  the 
alto  parts  to  second  trebles,  in  order  to  make  concerted  sing- 
ing possible,  but  choirmasters  should  make  every  effort  to 
obtain  the  real  alto  voices. 


CHAPTER  V. 

Hints  for  Maintaining  a  Choir. 

THE  personnel  of  a  boy-choir  is  always  changing.  At  the 
age  of  fifteen  years  or  thereabouts,  the  boys  begin  to  "  lose 
their  voices."  The  process  of  development  from  boyhood  to 
man's  estate,  is  accompanied  by  a  deepening  and  thickening  of 
the  larynx,  and  during  a  period  of  three  or  four  years  the  voice 
should  not  be  used  for  singing.  A  choirmaster  will  be  seri- 
ously handicapped  in  his  efforts  to  keep  the  choir  up  to  a 
high  standard,  if  some  reliable  means  have  not  been  provided 
for  offsetting  the  inevitable  leakage  occasioned  by  the  mutation 
of  the  boys'  voices.  It  is  very  necessary,  therefore,  to  organ- 
ize the  choir,  in  the  beginning,  in  such  a  way  that  the  loss  of 
a  few  sopranos  and  altos  each  year,  will  not  be  a  serious 
obstacle  in  the  way  of  the  choir's  progress. 

Naturally  we  look  to  England,  the  home  and  nursery  of 
the  highest  type  of  the  boy-choir,  for  advice  and  suggestions 
in  this  matter.  The  system  which  secures  to  all  the  great 
choirs  there  such  a  continual  supply  of  competent  choristers 
merits  examination. 

In  almost  all  the  cathedral  churches,  and  in  very  many 
smaller  places  of  worship,  the  boys  are  divided  into  two 
groups.  The  first,  or  senior  group,  consists  of  those  already 
equipped  for  regular  service  in  the  church;  the  second,  or 
junior  group,  is  made  up  of  younger  boys  who  form  a  pre- 
paratory class,  and  attend  all  the  rehearsals.     The  senior  boys 

(28) 


HINTS  FOR  MAINTAINING  A  CHOIR.  2g 

are  called,  in  choir  nomenclature,  "  choristers,"  and  the 
junior  boys  "  probationers."  A  choir  that  maintains  a  good 
class  of  probationers  enjoys  great  advantage  over  choirs  where 
this  or  a  similar  system  of  replenishing  the  parts  does  not 
obtain. 

Probationers  may  begin  their  career  as  young  as  seven 
years  of  age.  The  boys  enter  the  choir  at  Westminster  Abbey 
at  nine  or  ten,  never  older. 

The  advantages  of  such  a  plan  are  manifest.  A  boy's  re- 
lationship with  his  choir  lasts  through  a  period  of  more  than 
seven  years;  his  voice  is  trained  from  the  beginning  on  dis- 
tinctive methods  and  with  a  view  to  church  work;  by  such 
long  attendance  he  becomes  thoroughly  familiar  with  all  the 
Offices,  and  knows  a  considerable  portion  of  the  service-music 
by  heart;  when  a  chorister's  voice  gives  warning  of  the  ap- 
proaching change,  the  choirmaster  has  merely  to  announce  a 
competitive  examination  to  the  probationers,  and  to  award  the 
place  of  the  retiring  chorister  to  the  winner.  Readers  are  re- 
ferred to  Mr.  Curwen's  book  (Boy's  Voice,  p.  58,  seqq.)  for 
many  interesting  facts  about  England's  great  choirs.  Re- 
ferring to  the  success  of  the  choirmaster  at  Temple  Church, 
Oxford,  he  says :  "  He  lays  stress  on  the  fact  that  he  takes  his 
boys  at  eight  years  of  age.  For  a  year  or  more  they  are 
probationers.  .  .  .  They  undergo  daily  drill  in  musical 
theory  and  voice  training,  but  in  church  they  have  no  responsi- 
bility and  do  little  more  than  listen.  When,  however,  the 
voice  of  one  of  the  older  boys  breaks,  a  probationer  takes  his 
place,  and  is  much  better  for  the  training." 

The  writer  has  already  referred  to  the  choir  recently  estab- 
lished at  our  new  Cathedral  at  Westminster.  It  will  be  re- 
membered that  this  choir,  too,  is  made  up  of  choristers  and 
probationers.     Mr.  Robert  Gannon,  organist  and  choirmaster 


3Q 


MANUAL  OF  CHURCH  MUSIC. 


at  the  Mission  Church (Redemptorist  Fathers), Boston,  writes: 
"  The  school  here  is  a  great  help  for  furnishing  material.  I 
have  a  class  of  probationers  who  attend  the  rehearsals  and 
vocalize  with  the  regulars,  and  recently  I  admitted  ten  boys 
to  the  regular  choir.  They  were  between  the  ages  of  nine 
and  eleven."  Dr.  Martin,  of  St.  Paul's  Cathedral,  London, 
writes :  "  In  a  working  choir  of  about  sixteen  boys,  the  ages 
of  the  children  should  be  arranged  thus : 

4  boys   from   12   to   13  years  of  age 
4     "        "      ii  to  12      "      "     " 

4       "  "        10  to   II        "        "      " 

4      "         "         9  to  10       "       "     " 

There  should  also  be  at  least  four  probationers  from  eight  to 
nine  years  of  age." 

In  short  it  is  the  rare  exception  to  find  a  choir  of  any  pre- 
tensions without  a  preparatory  class  of  some  sort. 

If  music  had  a  more  conspicuous  place  in  the  schools,  the 
problem  of  meeting  the  leakage  in  the  boys'  section  would 
be  effectually  solved.  Mr.  Ungerer  writes :  "  We  make  an 
unpardonable  mistake  in  depriving  our  children  of  a  thorough 
musical  education  in  the  schoolroom.  Progressive  work  be- 
gun at  the  earliest  possible  stage  would  show  great  results. 
Every  child  ten  years  of  age  is  a  chorister.  This  would  be 
method." 

There  is  no  doubt  that  if  music  were  taught  more  thor- 
oughly and  intelligently  in  our  parochial  schools,  sanctuary 
choirs  could  be  maintained  with  much  less  difficulty.  Father 
Young,  the  noted  Jesuit  musician  of  St.  Francis'  College,  New 
York,  is  quoted  in  the  New  York  Sun  as  saying:  "  I  am  very 
much  encouraged  by  the  success  I  have  had  with  my  boys  in 
the  parochial  school,  and  I  am  more  than  ever  convinced  that 


HINTS  FOR  MAINTAINING  A  CHOIR.  3I 

every  reform  desired  by  the  Pope  could  be  brought  about  if 
the  children  were  now  taught  the  Gregorian  Chant  in  our 
Catholic  schools. " 

The  music  commission  of  the  Archdiocese  of  New  York  has 
also  expressed  a  conviction  of  the  necessity  of  a  thorough 
musical  education  in  the  schools  in  recommending  to  the 
priests  "  that  systematic  teaching  of  music  be  required  in  all 
Catholic  schools;  that  examinations  in  it  be  regularly  made 
by  the  diocesan  school  inspector  as  in  other  studies;  and  that 
where  no  Catholic  school  exists,  a  music  class  for  men  or 
boys,  or  both,  be  formed  at  once.  The  teaching,  to  be  ef- 
fective, is  to  comprise  (a)  sight  reading;  (b)  voice  training; 
(c)  the  study  of  the  various  chants  of  High  Mass,  Vespers, 
and  Benediction."  The  Right  Reverend  Bishop  of  Portland, 
Maine,  in  a  pastoral  letter,  has  also  enjoined  upon  his  priests 
the  careful  training  of  school  children  in  "  the  principal  hymns 
of  the  liturgy,  such  as  the  Salve  Regina,  Alma  Redemptoris, 
etc.,  and  the  Ordinary  of  the  Mass  according  to  the  Gregorian 
notation." 

It  is  quite  generally  held  that  the  boy  choristers  should  re- 
ceive some  honorarium — trifling  though  it  be — in  recognition 
of  their  services.  The  advantages  which  accrue  from  paying 
the  boys,  make  this  suggestion  worthy  of  serious  consideration. 
The  choirmaster  has,  thereby,  a  sure  means  of  procuring 
prompt  and  regular  attendance  at  the  services  and  rehearsals ; 
the  power  of  imposing  fines  and  suspension  for  repeated  mis- 
demeanors, which  this  system  provides,  has  a  disciplinary  value 
in  the  management  of  naturally  mischievous  and  inattentive 
boys.  Furthermore,  it  is  but  fair  to  give  the  lads  some 
slight  compensation  for  all  the  sacrifices  which  the  frequent 
rehearsals  and  the  long  and  numerous  services  demand  of 
them.     They  are  only  boys,  and  they  have  boys'  hearts  and 


32 


MANUAL  OF  CHURCH  MUSIC. 


boys'  points  of  view.  It  should  be  remembered  that  regular 
attendance  often  requires  heroic  virtue  of  them,  for  they 
must  forego  many  football  games  in  the  autumn,  coasting 
and  skating  in  the  winter,  and — the  greatest  sacrifice  of  all — 
baseball  in  the  spring.  Prove  to  them  that  their  services  are 
appreciated — not  by  patting  them  on  the  head  and  calling  them 
"  nice  boys  "  and  prophesying  great  careers  for  them — but 
by  giving  them  some  stated  reimbursement  at  regular  intervals. 
Do  this  and  you  will  suffer  but  little  annoyance  from  tardi- 
ness or  carelessness  about  the  meetings.  Choirmasters  who 
have  had  much  experience  with  boys,  find  that  choirs  where 
some  system  of  compensation  prevails,  are  much  more  reliable 
than  the  others.    We  quote  a  paragraph  from  Dr.  Richardson : 

"  Whenever  possible,  boys  should  be  paid,  however  small  a 
sum ;  but  it  should  be  made  clear  that  the  amount  given  is  to  be 
regarded  as  pocket  money  in  recognition  of  the  work  and  self- 
sacrifice  involved  in  attending  practice.  .  .  .  Payment  by  num- 
ber of  attendances  is  to  be  deprecated.  A  certain  fixed  sum 
should  be  given  weekly  or  monthly,  out  of  which  a  large  por- 
tion should  be  deducted  as  a  fine  for  absence  without  leave. 
This  fine  should  be  prohibitive,  so  as  to  make  it  clear  that  irre- 
gularity cannot  be  tolerated." 

In  parishes  where  Requiem  and  Nuptial  High  Masses  are 
frequent,  and  where  the  custom  prevails  of  paying  those  who 
in  regular  turn  sing  at  these  services,  the  payment  of  regular 
stipends  can  be  more  readily  dispensed  with;  but  the  advant- 
ages of  allowing  to  each  boy  a  monthly  wage  of  fifty  cents 
or  a  dollar  cannot  be  minimized. 

It  is  impossible  to  consider  here  all  the  circumstances  which 
may  arise  to  retard  the  progress  of  a  choir.  The  suggestions 
which  are  offered  in  this  chapter  have  been  culled  from  the 
experiences  of  able  men,  and  the  writer  hopes  that  they  may 


HINTS  FOR  MAINTAINING  A  CHOIR.  33 

serve  to  lighten  the  labors  and  insure  the  success  of  those 
who  have  sought  instruction  in  these  pages. 

There  are  two  further  points  which  may  here  be  considered 
as  bearing  closely  upon  the  subject-matter  of  this  chapter, 

( 1 )  on  the  part  of  priests — interest  in  their  choirs — 

(2)  on  the  part  of   choirmasters — intelligent   disciplinary 
methods. 

With  regard  to  the  first,  it  should  be  said  that  the  clergy  have 
it  within  their  power  to  inspire  enthusiasm  and  choir-spirit  to 
a  high  degree,  or  to  create  dissatisfaction  and  indifference 
among  the  choristers.  The  priests  should  encourage  the  choir- 
master and  singers  heartily  and  upon  every  possible  occasion. 
They  should  appear  sometimes  at  the  rehearsals,  and  lend  a 
willing  ear  to  propositions  and  projects  which  are  designed  to 
further  the  best  interests  of  the  choir.  The  attitude  taken  by 
the  pastor  or  the  curates  toward  the  choir  has  often  a  determin- 
ing influence  upon  the  members.  Priests  who  wish  regular 
attendance  and  enthusiastic  service  should  second  the  choir- 
master's efforts  to  make  singing  and  the  other  choir-duties  a 
pleasure  rather  than  a  duty.  A  word  of  congratulation  after 
a  well-rendered  service,  and  other  slight  tokens  of  appreciation 
sometimes  infuse  new  life  into  a  choir,  while  on  the  other 
hand,  singers  are  often  much  disappointed  and  chagrined  if 
their  special  efforts  pass  unnoticed. 

The  importance  of  maintaining  intelligent  discipline  can- 
not be  overestimated.  Corporal  punishment  and  rough  treat- 
ment of  any  kind  are  among  the  elements  which  tend  to  dis- 
band a  choir.  Mr.  Henry  Duncan,  a  New  York  choirmaster, 
writes  of  "  The  Real  Choir-Boy  neither  an  Angel  nor  a 
Deliberate  Sinner — Just  a  Boy."  We  refer  our  readers  to 
an  instructive  and  amusing  article  under  this  naive  title,  in 
the  New  York  Sun  of  April  17,  1904. 


34  MANUAL  OF  CHURCH  MUSIC. 

The  management  of  the  choir  will  offer  no  trouble  to  priests 
or  choirmasters  where  the  boys  are  taken  from  parish  schools. 
The  school  Sisters  are  always  actively  interested  in  anything 
that  concerns  the  children,  and  their  influence  in  the  dis- 
ciplinary matters  of  the  choir  is  paramount.  Choirmasters 
who  have  had  the  help  of  Sisters  in  this  direction,  know  well 
how  to  value  it.  The  writer  can  attest  from  personal  experi- 
ence the  great  relief  that  comes  to  a  choir-director  from  their 
kindly  cooperation  in  fitting  the  boys  for  their  choir  duties. 
From  the  start,  an  intelligent  discipline  should  be  maintained 
as  well  at  rehearsals  as  at  services.  Where  a  lax  discipline 
obtains  much  valuable  time  is  wasted,  and  eventually  the  lads 
lose  respect  for  the  director.  But  there  is  no  place  for 
punctilious  orderliness  or  rigorous  silence;  these  do  very  well 
for  the  schoolroom,  but  cannot  be  brought  into  the  choir- 
hall  without  tiring  the  boys  and  destroying  spontaneity.  The 
choir-room  should  be  made  popular.  The  choirmaster  should 
be  loved.  There  should  be  a  spirit  of  easy  freedom  about  the 
rehearsal;  the  lads  ought  to  feel  that  a  certain  amount  of  re- 
laxation is  legitimate,  and  that  they  can  converse  quietly  and 
enjoy  themselves  during  the  intervals  when  music  is  being 
distributed,  or  when,  for  any  other  reason,  there  is  a  temporary 
cessation  of  work.  Boys  appreciate  these  little  liberties,  and 
when  the  signal  is  given  to  resume  the  practice,  they  begin 
again  with  fresh  vigor.  Choir-boys  ought  to  be  granted  every 
concession  and  privilege  consistent  with  respectable  discipline. 
A  certain  code  of  choir  rules  should  be  drawn  up  with  care 
and  hung  in  a  conspicuous  place  in  the  choir-hall.  Serious  and 
frequent  infractions  of  these  should  be  punished  with  propor- 
tionate severity.  Connivance  at  violations  of  regulations  is 
an  infallible  way  to  lose  control  of  choir-boys.  Where  some 
system  of  reimbursing  the  boys  is  in  use,  fines  for  tardiness, 


HINTS  FOR  MAINTAINING  A  CHOIR.  35 

absence,  misbehavior,  etc.,  may  be  imposed  with  good  effect. 
"  Reproof,"  says  a  director  of  long  experience,  "  should  be 
administered  in  private/'  Mr.  Curwen  thinks  well  of  the 
plan  of  an  eminent  choirmaster  "  who  advocates  a  choir  guild, 
and  would  have  in  the  choir-room  a  library,  games,  puzzles, 
footballs,  bats  and  balls,  Indian  clubs  and  dumb  bells."  "  Of- 
fensive manners,"  once  wrote  a  director  of  music  in  a  cathe- 
dral, "  on  the  part  of  the  trainer  quickly  endanger  the  exist- 
ence of  the  choir.  .  .  .  '  I  cannot  think  why  that  boy  does 
not  sing  in  tune;  I  have  boxed  his  ears/  said  a  cathedral 
organist  to  me  quite  seriously.  ...  I  fear  there  is  a  vulgar 
notion  (only  half  defined,  most  probably)  that  irascibility  in 
the  musical  trainer  is  a  mark  of  genius." 
To  sum  up : 

Under  ordinary  circumstances,  the  maintenance  of  a  liturgi- 
cal choir  will  present  no  difficulty,  if 

( 1 )  a  number  of  probationers  is  enlisted. 

(2)  a  course  of  music  is  provided  in  the  parish  school. 

(3)  the  choristers  are  allowed  a  monthly  stipend. 

(4)  the  priests  in  charge  display  sufficient  interest  in  mat- 
ters pertaining  to  the  choir. 

(5)  the  choirmaster  adopts  and  enforces  a  sane  and  con- 
siderate method  of  discipline. 


CHAPTER  VI. 
The  Choir  and  Organ  in  the  Chancel. 

WHEREVER  it  is  possible,  a  liturgical  choir  should  be 
seated  in  the  chancel.  The  liturgy  by  its  very  construc- 
tion demands  the  services  of  choristers  who  occupy  stalls  not 
far  distant  from  the  sanctuary  and  the  High  Altar.  Sur- 
pliced  chancel-singers  are  just  as  necessary  for  the  complete 
ritual  of  a  solemn  service,  as  the  ministers  and  altar  boys. 
The  Roman  rite  of  Solemn  Vespers,  for  instance,  could  never 
be  carried  out  in  detail,  without  the  presence  of  singers  in  the 
chancel.  The  logic  of  the  ritual  demands  a  sanctuary-choir; 
there  is  no  need  of  argument  about  this,  for  were  it  otherwise, 
the  considerable  portions  of  the  Ceremoniale  (see  Martinucci) 
which  are  devoted  to  the  functions  and  duties  of  the  choir- 
singers  would  be  obviously  superfluous.  Nor  is  it  necessary 
to  insist  that  the  elaborate  ceremonies  which  require  a  chancel- 
choir,  in  order  to  be  carried  out  in  their  entirety,  are  not  meant 
to  be  confined  to  cathedral,  conventual  or  collegiate  churches, 
where  the  choirs  are  composed  chiefly  of  clerics.  It  is  clear 
that  wherever  the  Roman  rite  extends,  and  wherever  the 
solemnity  of  that  rite  is  observed,  every  choir,  even  when  made 
up  of  laymen,  is  meant  to  fulfil  the  office  of  the  choir  of  levites. 
We  have  this  from  Pope  Pius  X  himself :  "  the  liturgical  chant 
belongs  to  the  choir  of  levites,  and,  therefore,  singers  in 
church,  even  when  laymen,  are  really  taking  the  place  of  the 
ecclesiastical   choir."      Says   Mr.   Wilfrid   Anthony    (Eccles- 

(36) 


THE  CHOIR  AND  ORGAN  IN  THE  CHANCEL.  37 

iastical  Review,  June,  1904)  :  "  Since  there  is  to  be  in  every 
well-appointed  church  a  chanters'  choir  composed  of  men  and 
boys,  the  question  arises  where  this  liturgical  choir  is  to  be 
placed.  The  choice  is  twofold.  The  first  is  to  place  it  in 
front  of  the  sanctuary,  that  is,  between  it  and  the  nave,  and 
on  a  somewhat  lower  level  than  the  former.  .  .  .  The  plan 
is,  moreover,  in  accordance  with  the  Ceremonial  of  Bishops. 
Graduated  stalls  may  be  placed  choirwise  for  the  accommo- 
dation of  the  organist  and  director  on  one  side.  The  organ 
may  be  located  on  one  or  both  sides  of  the  choir.  The  alter- 
native disposition  of  the  liturgical  choir  is  to  place  it  back  of 
the  sanctuary.  This  is  more  rarely  done,  and  when  adopted 
it  is  chiefly  in  churches  built  in  the  Romanesque  or  the 
Byzantine  style,  as  in  the  case  of  the  new  Cathedral  at 
Westminster." 

But  we  have  no  chancels,  is  the  first  objection  that  con- 
fronts one  here.  Yes,  it  is  true,  we  have  few  churches  with 
this  essential  complement  of  a  perfect  church  building;  and, 
"  Oh,  the  pity  of  it !"  says  one  who  knows,  "  they  are  building 
a  $700,000  cathedral  here  in  '  trade '  Gothic ;  and  there  is  no 
chancel"  But  if  we  have  not  many  deep  chancels,  we  have  at 
least  sanctuaries  of  comfortable  dimensions,  and  these  can 
be  made  to  serve  the  purpose.  Of  the  two  diagrams  given  here, 
Fig.  I  represents  an  ideal  way  of  arranging  the  choir,  and 
Fig.  II  a  very  satisfactory  adaptation  of  the  sanctuary  of  the 
average  American  church  to  the  purposes  of  a  sanctuary 
choir.  When  the  singers  are  seated  according  to  the  plan 
suggested  by  Fig.  I,  the  rubrical  division  of  the  choir  is  ob- 
served, and  the  choirmaster  seated  behind  the  High  Altar,  can 
see  and  direct  both  sides  unobserved  by  the  congregation. 
This  plan  is  realized  in  the  Church  of  St.  Paul  the  Apostle 
(Paulist  Fathers)  New  York,  and  in  the  Blessed  Sacrament 


38 


MANUAL  OF  CHURCH  MUSIC. 


Church,  Providence,  Rhode  Island.  Although  Fig.  I  does  not 
meet  all  the  requirements  of  Baldeschi's  diagrams  of  the  tradi- 
tional chancel,  yet  it  has  illustrious  precedents  in  the  churches 
of  St.   Sulpice,  Paris,  Notre  Dame,   Paris,  St.   Germain  de 

Fi3. 
I 


A — Organ  Console.     B  and  B'— Choir.     C — High  Altar.    D — Celebrant's 
Bench.     E  and  F — Side  Altars.     G— Sanctuary  Rail. 


E 


E       Jhhkkhhh 

U  U  kt,  U  h  k  K  U  h  U 
hkkhhKhk'hh  K5 

hhhhhhkhhhh 


Fig. 
E. 


c 


iDl 
LJ 


A— Organ  Console.     B— Choir.    C— High  Altar.    D— Celebrant's  Bench. 
E  and  F — Side  Altars.     G — Sanctuary  Rail. 

Pres,  Paris,  the  dartres  cathedral,  the  Church  of  the  Freri, 
Venice,  etc.,  and  it  lends  itself  to  the  full  ceremonial  of  the 
most  solemn  offices.     If  the  matter  of  remodeling  a  sanctuary 


THE  CHOIR  AND  ORGAN  IN  THE  CHANCEL.  39 

to  meet  the  specifications  of  Fig  I  seems  impracticable,  or  too 
expensive,  for  some  of  our  smaller  parochial  churches,  it  must 
be  said  that  there  are  very  few  sanctuaries  in  city  churches 
that  cannot  easily  and  at  a  moderate  expense  be  rearranged 
according  to  Fig  II. 

The  letter  A  in  both  diagrams  indicates  the  position  of  the 
key-board  or  console  of  the  organ;  the  organ  pipes  can  be 
set  up  in  any  convenient  niches — even  in  the  gallery — pro- 
vided that  resonance  is  not  destroyed. 

It  has  been  objected  that  "  a  chancel  choir  placed  according 
to  either  of  these  two  diagrams,  will  find  its  chief  function  in 
being  ornamental. "  Whether  this  will  prove  true  or  not  in 
particular  churches  depends  entirely  upon  the  musicianship  and 
ability  of  the  man  in  charge  of  the  choir.  It  is  unnecessary 
to  give  here  the  long  list  of  world-famed  choirs  which  have 
been  seated  in  the  manner  suggested.  The  choirs  at  St.  Sulpice 
and  Westminster  Cathedral  seem  to  have  succeeded  in  being 
more  than  ornamental.  And  who  can  point  to  better  choirs 
or  choirs  which  sing  more  difficult  polyphony  in  this  country, 
than  those  singing  regularly  at  St.  Paul's  Church,  New  York 
City,  Holy  Cross  Cathedral,  Boston  and  the  Blessed  Sacra- 
ment Church,  Providence,  Rhode  Island? 

In  churches  where  it  is  altogether  impracticable  to  arrange 
the  choir  gracefully  in  the  sanctuary,  it  will  do  very  well  to 
seat  it  choirwise  in  the  west-end  gallery.  The  choristers  in 
any  case,  should  be  surpliced.  (See  Motu  proprio,  section 
V,  §  14.) 

The  art  of  organ-building  has  made  such  progress  during 
the  past  few  decades,  that  it  is  now  a  comparatively  simple 
matter  to  put  effective  instruments  into  places  that  fifty  years 
ago  would  have  been  considered  irremediably  unsuited  to 
any  kind  of  an  organ.     The  invention  and  perfecting  of  the 


40  MANUAL  OF  CHURCH  MUSIC. 

"  tubular-pneumatic,"  and  "  electro-pneumatic  "  actions,  have 
made  it  possible  to  separate  the  pipes  from  the  console,  or 
controlling-desk,  at  any  distance ;  and  we  seldom  hear  in  these 
days  of  any  large  organ  that  is  not  provided  with  a  movable 
console.  These  recent  developments  of  organ  construction 
remove  the  obstacle  which — if  only  the  "  tracker  "  organ  were 
still  known — would  render  the  erection  of  sanctuary  organs 
impossible  in  our  ordinary  churches.  In  churches  where 
there  are  large  transepts,  the  organ  pipes  can  be  very  readily 
set  up  in  these, — the  entire  organ  in  one,  or  the  "  swell  "  or- 
gan in  one  and  the  "  great  "  organ  in  the  other.  Where  there 
are  no  transepts  or  available  niches,  or  no  triforium,  the  pipes 
may  have  to  be  placed  in  the  gallery.  Even  this  arrangement 
proves  very  satisfactory.  The  hiatus  between  the  depression 
of  the  keys  at  the  console  in  the  sanctuary  and  the  speaking 
of  the  pipes  in  the  gallery  at  the  opposite  end  of  the  building, 
can  be  reduced  to  a  minimum,  and  will  rarely  annoy  an  organ- 
ist after  he  has  become  accustomed  to  it.  There  are  some  very 
well-known  organs  divided  in  this  way,  notably  the  majestic 
instrument  in  St.  Bartholomew's  Church  (Episcopalian),  New 
York,  built  a  few  years  ago  by  the  Hutchings-Votey  Com- 
pany of  Boston.  The  specification  of  this  organ  includes 
fifty  registers  in  the  chancel  division  and  forty-nine 
registers  in  the  gallery  division,  with  all  the  necessary  push- 
knob  and  oscillating-tablet  combinations,  etc.,  and  the  entire 
organ  is  operated  at  one  console  connected  with  the  organ 
by  a  flexible  cable  one  hundred  and  fifty  feet  in  length;  the 
organ  can  be  played  from  any  part  of  the  church.  For  those 
who  think  it  a  great  disadvantage  to  have  the  organ  built  so 
high  above  the  choir,  we  quote  a  comment  on  the  new  organ 
built  at  Symphony  Hall,  Boston :  "  It  may  be  that  the  height 
gives  it  a  clearer  reflection  from  the  roof  of  the  auditorium, 


THE  CHOIR  AND  ORGAN  IN  THE  CHANCEL.  4I 

for  we  all  recall  some  cathedral  organs  in  Europe  which  are 
also  built  high  above  the  worshiping  congregations,  yet  reflect 
down  their  tones  from  the  vaulted  roof  above  with  glorious 
power  and  perfect  preservation  of  those  minute  vibrations 
(overtones)  which  constitute  the  quality  of  every  musical  tone." 

Priests  may  well  ask  here  about  the  expense  incurred  in 
fitting  up  churches  with  these  chancel  organs.1  In  answer  to 
this  question,  it  must  be  said  that  in  very  many  churches  the 
organs  now  in  use  are  unnecessarily  large.  Although  bril- 
liant organs  add  an  unmistakable  charm  to  the  musical  per- 
formance, yet  they  are  not  necessary,  and  in  treating  of  an 
outfit  for  conducting  the  musical  services  on  the  principles  of 
the  reform,  we  are  speaking  primarily  of  what  is  necessary. 
The  writer  saw  the  specification  of  a  chancel  organ  recently 
built  in  a  Catholic  church  by  the  Austin  Organ  Company; 
compared  with  the  average  gallery  organs  of  our  larger 
churches,  this  instrument  is  small,  and  yet  it  is  more  than  ade- 
quate to  accompany  a  choir  of  sixty  voices.  It  is  a  mistake  to 
think  that  we  must  have  expensive  organs  of  $12,000  and 
$15,000.  There  is  no  need  for  the  fancy  and  costly  orchestral 
stops  —  the  Tibia  Plena,  Tuba  Sonora,  Orchestral  Oboe, 
Philomela,  Hohlpfeife,  etc. — which  are  expected  in  the  up-to- 
date  concert  organ.  Our  organs  are  intended  to  accompany 
the  voices,  and  very  inexpensive  instruments  can  be  made  to 
serve  this  purpose  satisfactorily. 

The  initial  cost  of  equipping  the  church  with  the  various 
facilities  for  successfully  carrying  on  choir  work  should  be 
considered  in  the  light  of  the  increased  attendance  at  the 
solemn  services,  which  invariably  comes  with  the  introduction 

'We  call  them  chancel-organs,  even  if  the  pipes  are  in  the  gallery,  for 
as  far  as  the  choir  and  the  congregation  are  concerned,  the  music  is  prac- 
tically emanating  from  the  console  in  the  sanctuary. 


42  MANUAL  OF  CHURCH  MUSIC. 

of  a  good  boy-choir.  The  objection  that  "  people  will  give 
up  their  pews  when  the  mixed  choir  is  disbanded  "  counts  for 
nothing  when  compared  with  the  fact  that,  wherever  a  well 
organized,  carefully  trained  and  thoroughly  equipped  boy- 
choir  has  been  introduced,  the  congregations  at  the  musical 
services  have  become  notably  larger.  A  prominent  pastor  of 
an  Eastern  diocese  here,  has  written  to  say :  "  They  may  say 
what  they  like  about  boys'  choirs  not  being  popular,  but  we 
cannot  seat  the  people  at  our  High  Mass,  and  all  the  other 
churches  are  half  empty  at  High  Mass."  If  a  choir  is  con- 
ducted carefully  and  intelligently,  it  will  pa»y  for  itself. 


CHAPTER  VII. 

The  Choirmaster. 

HPHE  choirmaster  is  the  very  soul  of  the  choir,  animating 
■■"  and  governing  it,"  says  Dr.  Haberl  of  the  Ratisbon  Cathe- 
dral. "As  the  choirmaster  is,  so  the  choir  will  be,"  may  be  a 
truism,  but  it  can  well  bear  repetition  in  these  days,  for  the 
degree  of  proficiency  and  popularity  to  which  a  choir  will 
attain  depends  finally,  and  after  everything  else  has  been  said, 
upon  the  man  to  whose  musical  direction  it  is  entrusted.  If 
he  is  a  thoroughly  competent  director  as  well  as  organist,  and 
if  besides  musicianship,  he  brings  into  his  work  enthusiasm 
for  the  details  of  choir-training,  and  some  appreciation  of  the 
responsibilities  of  the  maitre  de  chapelle,  it  is  highly  probable 
that  the  results  of  his  labors  will  be  satisfactory,  and  if  on 
the  other  hand,  he  is  mercenary,  assuming  and  holding  the 
position  merely  for  the  sake  of  the  prestige  or  financial  gain 
that  may  accrue  therefrom,  it  is  equally  probable  that  his  choir 
will  be  only  indifferently  effective. 

It  is  important  then  for  pastors  to  be  most  circumspect  and 
discriminating  in  their  choice  of  choirmasters.  And  it  should 
not  be  difficult  to  secure  leaders  of  the  right  type,  for  the 
Catholic  musicians  of  the  United  States  are  men  of  marked 
talent,  and  can  very  readily  fit  themselves  for  successful 
careers  as  directors  of  liturgical  choirs.  And  they  will, — if 
the  priests  urge  them.  Let  the  clergy  make  it  known  that 
there  is  pressing  demand  for  well  qualified  chancel-choir- 
masters, and  the  supply  will  come  quickly. 

(43) 


44 


MANUAL  OF  CHURCH  MUSIC. 


Our  musicians  must  learn  to  feel  the  dignity  of  the  choir- 
master's position  in  a  parish.  If  they  look  upon  themselves 
as  hirelings,  it  is  scarce  likely  that  they  will  devote  themselves 
to  the  arduous  labors  entailed  in  maintaining  the  correct  type 
of  musical  service,  with  sufficient  interest  to  be  proof  against 
the  inevitable  discouragements  which  come  from  time  to  time, 
particularly  during  the  first  years  of  a  choir's  existence. 

There  is,  of  course,  more  than  a  professional  side  to  a  choir- 
master's relation  to  a  church.  His  obligations  to  a  parish 
are  not  satisfied  when  he  has  fulfilled  the  requirements  of  a 
contract  made  out  upon  a  business  basis.  He  has  the  exalted 
vocation  of  assisting  the  people  to  pray,  and  of  preaching  to 
their  hearts  of  God  and  the  holy  things  of  religion  by  the 
subtle  eloquence  of  the  musical  art.  What  greater  vocation 
is  there  than  to  help  men  to  come  near  to  God  ?  Does  he  not 
share  this  privilege  with  the  priests  ?  Says  Dr.  Haberl,  "  No 
matter  how  great  his  musical  talents  otherwise  may  be,  the 
choirmaster  who  cannot  identify  his  way  of  thinking  with  that 
of  the  Church  as  expressed  in  her  liturgy,  and  who  fancies 
that  he  adequately  discharges  his  duty  by  merely  making  music 
whilst  a  religious  function  is  being  gone  through,  is  deficient 
in  one  of  the  most  important  qualifications  for  his  position." 
The  priest  who  assists  his  choirmaster  to  realize  the  dignity 
and  responsibility  of  the  office  he  exercises,  will  win  sympathe- 
tic cooperation  in  the  matter  of  providing  music  worthy  of  the 
ritual  it  is  permitted  to  accompany. 

It  is  the  purpose  of  this  chapter  briefly  to  summarize  the 
qualifications  which,  in  the  opinion  of  experienced  men,  seem 
necessary  for  the  master  of  a  liturgical  choir.  The  subject 
will  not  be  treated  exhaustively  here,  because  in  the  various 
other  chapters  of  this  brochure  the  requirements  of  efficient 
directorship  are  made  sufficiently  evident. 


THE  CHOIRMASTER.  45 

The  office  of  choirmaster  is  not  only  musical,  but  liturgical 
also.  He  is  a  second  Master  of  Ceremonies,  as  it  were,  and 
should  be  thoroughly  acquainted  with  everything  that  bears 
upon  the  perfect  rendering  of  the  musical  portions  of  the  ser- 
vices. The  ideal  choirmaster  combines  the  musician,  the 
liturgist,  the  rubrician. 

The  musical  equipment  which  is  indespensable  for  the  suc- 
cessful direction  of  liturgical  choirs,  implies  roughly : 

( 1 )  Skill  as  an  organist  and  harmonist. 

(2)  Proficiency  in  the  art  of  training  boys'  voices. 

(3)  Knowledge  of  Gregorian  Chant. 

It  should  be  said  here,  that  notwithstanding  opinions  to  the 
contrary,  there  seems  to  be  great  advantage  in  embodying  the 
director  and  organist  in  one  man.  Nothing  is  more  obvious 
than  that  in  choirs  where  Gregorian  Chant  is  to  be  the  pre- 
dominating style  of  music  used,  the  organist  must  have  the 
reins  in  his  hand  absolutely.  Any  organist  of  skill  who  has 
also  had  charge  of  choirs  or  bodies  of  singers,  will  realize 
that  there  are  subtle  ways,  which,  indeed,  he  himself  cannot 
explain,  but  by  which,  with  his  fingers  on  the  keys,  he  can  so 
wield  his  singers  as  to  produce  any  desired  impression  upon 
their  minds.  In  these  days  of  opportunity  for  the  able  or- 
ganist, he  should  not  be  content  merely  to  be  a  mechanical 
automaton  while  another  man  as  director  holds  the  authority 
and  represents  the  greater  brains  of  the  combination.  Much 
better  results  can  be  obtained  if  the  offices  of  leader  and  organ- 
ist are  combined  in  one.  A  further  advantage  to  the  parish 
would  be  in  the  proportionately  less  expense.  And  so  in  this 
chapter,  and  throughout  the  book,  consistently  with  this  view, 
we  have  considered  the  organist  and  director  as  embodied  in 
one  man,  who  is  designated  the  choirmaster. 

The  average  organist  of  our  city  churches   will  find  the 


46  MANUAL  OF  CHURCH  MUSIC. 

process  of  acquiring  the  necessary  equipment  neither  lengthy 
nor  expensive;  he  can  in  a  short  time  familiarize  himself  with 
enough  of  the  principles,  included  in  the  branches  specified, 
to  make  a  safe  and  intelligent  beginning  with  a  choir.  But  no 
one  should  venture  to  assume  the  responsibility  of  preparing 
a  liturgical  choir  for  its  share  in  the  ceremonies  of  public 
worship,  until  he  has  fully  realized  and  mastered  the  funda- 
mental points  of  differentiation  between  the  choirmaster's 
functions  and  other  musical  activities. 

I. 

Were  it  not  for  the  growing  tendency  to  engage  men  as 
choirmasters  whose  musical  education  has  been  confined  chiefly 
to  the  pianoforte,  and  whose  touch  and  method  of  registration 
(if  alternate  use  of  great  and  swell  and  if  and  pp  can  be  dig- 
nified by  such  a  name)  are  totally  at  variance  with  the  first 
rules  of  organ-playing,  it  would  be  superfluous  to  say  that, 
as  organist,  a  choirmaster  should  be  thoroughly  trained  in  the 
technicalities  of  organ-playing,  and  well  versed  in  the  classics 
of  organ  literature.  Pianists  are  not  organists ;  the  piano  and 
organ  are  essentially  different  in  character — they  are  alike 
in  this  only  that  they  are  operated  by  means  of  similarly  con- 
structed keyboards.  Hence  the  necessity  of  the  player  being 
a  genuine  organist. 

A  practical  knowledge  of  harmony  and  counterpoint  is 
scarcely  less  important  than  facility  in  playing  the  organ.  In 
these  days  of  the  restoration  of  the  Gregorian  melodies,  the 
necessity  for  skill  in  these  branches  is  even  greater  than  here- 
tofore. The  organist's  education  was  at  no  time  complete  un- 
til he  had  mastered  the  theory  of  harmony  and  counterpoint, 
and  now  he  is  seriously  handicapped,  if  not  altogether  in- 
capacitated for  accompanying  a  choir,  if  he  is  not  in  possession 


THE  CHOIRMASTER. 


47 


of  a  practical  working  knowledge  of  these.  There  have  been 
published  many  harmonizations  of  the  Gregorian  Masses, 
motets,  etc.,  but  these  by  no  means  remove  the  necessity  of 
each  organist  being  personally  capable  of  arranging  and  har- 
monizing the  chant  for  himself. 

II. 

A  choirmaster  should  be  aware  of  the  peculiar  properties  of 
the  boy-voice,  and  have  learned  how  best  to  realize  its  rich 
possibilities.  The  matter  of  the  training  of  the  choir  is  dis- 
cussed in  Chapters  IX,  X,  XI  and  XII,  and  it  is  unnecessary 
to  say  more  here,  save  that  choirmasters  should  devote  them- 
selves assiduously  to  the  study  of  the  tendencies  which  char- 
acterize the  development  of  the  child-voice.  They  should  be- 
come familiar,  too,  with  the  current  methods  for  clarifying  the 
distinctly  spiritual  quality  of  the  boy's  soprano,  and  the  various 
processes  for  effecting  and  preserving  that  imperceptible  fusion 
of  its  two  registers  which  has  brought  such  perfection  to  the 
great  English  choirs. 

It  is  a  pity  that  there  have  been  some  choirs  here  in  which 
the  mention  of  a  special  system  of  training  the  children's 
voices  would  have  been  as  much  a  surprise  to  the  directors  as 
to  the  choristers  themselves.  The  necessity  of  using  a  method 
of  voice  culture  which  would  be  especially  applicable  to  the 
vocal  and  physical  conditions  of  boys  from  eight  to  fifteen 
years  of  age  seems  not  to  have  been  appreciated  by  all  who  in 
the  past  had  announced  themselves  as  competent  directors 
of  boy-choirs.  The  singing  of  indifferently  trained  boys,  and 
even  the  singing  of  boys  who  have  received  a  certain  amount 
of  intelligent  vocal  instruction  but  not  according  to  the  prin- 
ciples and  methods  which  constitute  the  art  of  teaching  chancel- 
choirs — a  distinct  branch  of  the  musical  profession — is  often 


48  MANUAL  OF  CHURCH  MUSIC. 

intolerable,    strident    and    unrefined,    lacking    in    flexibility, 
smoothness  and  general  finish. 

Within  the  past  few  decades  the  science  of  chancel-choir 
training  has  made  great  strides,  and  there  is  no  question  that 
bears  upon  the  correct  managing  and  training  of  choirs  and 
choristers  that  has  not  been  to  some  extent  solved  by  the 
investigations  and  experiences  of  the  last  quarter  of  a  century. 
The  names  of  some  of  England's  and  America's  most  famous 
musicians  are  associated  with  the  development  of  this  unique 
branch  of  the  musical  profession.  We  subjoin  a  list  of  the 
most  pertinent  literature  which  has  been  published  in  English 
upon  the  subject.  Every  choirmaster  should  possess  the  fol- 
lowing books,  for  in  these  he  will  have  a  valuable  compendium 
of  the  theory  of  training,  managing,  and  conducting  chancel- 
choirs.  It  is  likely  that  they  are  to  be  found  upon  the  shelves 
of  the  larger  public  libraries : 
The  Boy's  Voice,  J.  Spencer  Curwen   (G.  Schirmer  &  Co., 

New  York). 
The  Art  of  Training  Choir  Boys,  Dr.  G.  C.  Martin  (Novello, 

Ewer  &  Co.,  New  York). 
A  Treatise  on  a  Practical  Method  of  Training  Choristers,  Dr. 

J.  Varley  Roberts   (Henry  Frowde,  91   Fifth  Ave.,   New 

York).   ' 
Practical  Hints  on  the  Training  of  Choir-Boys,  G.  E.  Stubbs 

(Novello,  Ewer  &  Co.,  New  York). 
The  Child's  Voice,  Emil  Behnke  (G.  Schirmer  &  Co.,  New 

York). 
Voice,  Song  and  Speech,  Browne  and  Behnke  (G.  Schirmer  & 

Co.,  New  York). 
The  Voice  in  Singing,  Madame  Seiler  (G.  Schirmer  &  Co., 

New  York). 
Studies  in  Worship  Music,  J.  S.  Curwen,  (1st  series)  p.  312 

scq.  (G.  Schirmer  &  Co.,  New  York). 


THE  CHOIRMASTER.  49 

Church  Music,  Dr.   A.   Madeley  Richardson    (Chapter  IV) 
(Longmans,  Green  &  Co.,  New  York). 

III. 

Although  the  singers  can  be  spared  much  of  the  theoretical 
study  of  the  chant,  the  choirmaster  must  go  properly  into  its 
technical  analysis,  and  to  that  end  he  cannot  do  better  than  to 
study  the  Rev.  Dr.  Haberl's  M agister  Choralis  (Fr.  Pustet 
&  Co.,  New  York)  translated  from  German  into  English, 
French,  Italian,  and  several  other  languages.  It  is  a  most 
valuable  and  lucid  compendium,  and  in  its  second  division 
(sectio  theoretical)  the  student  will  find  in  concise  form  all 
that  is  necessary  for  him  to  know  as  to  the  modal  structure 
of  the  chant.  Another  useful  text-book  is  Lemaistre's 
Complete  and  Practical  Method  of  the  Solesmes  Plain  Chant,1 
adapted  and  translated  from  Dom  Birkle,  O.  S.  B. 

It  has  been  said  by  some  that  proficiency  in  the  chant  and 
the  right  appreciation  of  its  peculiar  genius  come  only  after 
many  years  spent  in  its  study.  This  may  be  so,  but  it  is  also 
true  that  men  who  have  gone  through  a  good  course  in  gen- 
eral musical  theory  can  in  a  few  weeks  and  without  extra- 
ordinary difficulty,  so  master  the  general  principles  of  the 
subject  as  to  be  able  intelligently  to  apply  their  knowledge  of 
the  same  to  practical  purposes. 

The  well  informed  instructor  in  Church  music  should  also 
have  a  fair  knowledge  of  the  Latin  language.  He  should 
scrupulously  strive  to  qualify  himself  upon  this  essential  point, 
for  the  intelligent  rendering  of  vocal  music  requires,  first  of 
all,  an  understanding  of  the  verbal  text.  "  Without  a  fair 
knowledge  of  Latin/'  writes  Dr.  Haberl,  "  he  cannot  under- 
stand the  sentiments  conveyed  in  the  words,  and  therefore 

1  Joseph  F.  Wagner,  9  Barclay  St.,  New  York. 


50  MANUAL  OF  CHURCH  MUSIC. 

give  the  just  expression  to  these  words  or  to  the  melody  in 
which  they  are  clothed;  for  it  should  be  ever  remembered, 
that  in  ecclesiastical  chant  the  '  text  is  the  master,  the  notes 

the  slaves  ' It  is  also  desirable  that  he  should  know 

how  to  use  the  ecclesiastical  calendar  (Ordo),  in  order  that 
he  may  find  the  chants  prescribed  for  the  day  or  season,  and 
regulate  their  performance  with  the  requirements  of  the 
rubrics." 

The  foregoing  are  in  general  outline  the  qualifications  which 
should  distinguish  a  really  competent  choirmaster.  Com- 
plete mastery  of  the  organ,  a  grasp  of  practical  harmony  and 
counterpoint,  skill  in  developing  the  child-voice,  and  know- 
ledge of  Gregorian  Chant,  are  about  what  is  necessary  and 
sufficient  in  the  way  of  musical  equipment,  for  the  present-day 
choirmaster.  It  is  understood,  of  course,  in  addition  to  these, 
that  he  should  have  a  proper  appreciation  of  the  spirit  of  the 
Church's  liturgy  and  knowledge  of  the  details  of  the  various 
solemn  ceremonies.  In  the  words  of  the  great  Kapellmeister 
of  Ratisbon,  "  the  choirmaster  who  seeks  to  discharge  his 
duty  faithfully,  must  allow  this  spirit  of  the  Liturgy  to  take 
possession  of  him;  he  must  as  it  were  live  with  the  Church 
and  enter  into  her  feelings ;  weep  with  her  in  her  sorrow,  and 
exult  in  her  joy; — otherwise  he  can  never  realize  for  himself 
or  those  under  him,  the  meaning  of  the  occasion  which  she 
solemnizes,  or  of  the  word*  which  she  employs." 


PART  II. 

THE  TRAINING  OF  A  BOYS'  AND  MEN'S  CHOIR. 


CHAPTER  VIII. 
The  Distinctive  Feature  of  a  Boy-choir. 

THE  characteristic  which  differentiates  the  boy-voice,  clearly 
and  beyond  any  doubt,  from  other  human  voices,  is  essen- 
tially this,  that  it  is  absolutely  free  from  any  even  remote  sug- 
gestion of  personal  sentiment.  It  is  not  colored  by  the  ex- 
aggerated emotion  or  the  latent  passionateness  which  must  to 
the  end  unfit  the  female  voice  for  use  in  purely  ecclesiastical 
music.  Boys  are  capable  of  religious  emotions,  but  anything 
like  a  personal,  passionate,  human  sentiment  is  altogether  im- 
possible in  their  stage  of  physical  development.  Boys  can  ex- 
press only  such  ideas  as  are  inseparably  connected  with  the 
spiritual  tone  of  a  composition.  Women,  on  the  other  hand, 
can  hardly  avoid  adding  something  of  their  own  personal  senti- 
ment and  mood;  their  tones  insinuate  something  at  variance 
with  the  strictly  sacred  and  ecclesiastical  character  which  should 
pervade  all  the  music  performed  at  the  Offices  of  the  Most 
High.  And  so  it  may  be  said  that  the  feature  which  makes 
boys'  voices  par  excellence  the  perfect  instrument  for  the 
rendition  of  the  chant  and  the  other  legitimate  styles  of  ritual- 
song,  is  something  negative  if  compared  to  the  female  voice, 
and  something  positive  if  compared  to  the  coarse  and  strident 
tones  of  boys  before  they  have  been  trained. 

Obviously,  then,  the  sine  qua  non  of  the  success  of  boy-choirs 
is  the  correct  formation  and  development  of  those  qualities 
which  make  the  boy's  soprano  and  alto  preeminently  the  best 

(53) 


54 


MANUAL  OF  CHURCH  MUSIC. 


vehicle    for    the    expression    of    the    religious    sentiments    of 
Catholic  ritual-music. 

The  scientific  cultivation  of  the  boy-voice  is  a  department  of 
vocal  art  which  is  entirely  distinct,  in  method,  from  all  other 
systems  of  voice  culture.  The  average  boy  is  endowed  with 
a  natural  voice  practically  identical  in  quality  and  timbre  with 
that  of  the  girl  of  like  age.  The  physiological  construction 
of  the  vocal  organs  is  the  same  in  both  boy  and  girl,  and 
continues  up  to  the  inevitable  time  of  mutation  in  the  boy- 
voice,  which  occurs  generally  between  the  ages  of  fourteen 
and  sixteen.  The  purpose  of  vocal  training  during  the  four 
to  six  years'  period  of  the  boy's  usefulness  as  a  singer,  is  to 
produce  a  similar  quality  of  tone  and  a  uniform  degree  of  force 
throughout  the  range  of  his  voice.  In  order  to  produce  this 
desired  quality  of  tone  and  uniformity  of  force,  the  boy's 
voice  must  be  subjected  to  an  entirely  different  system  of 
training  irom  that  ordinarily  applied  to  the  development  of 
the  female  voice.  Herein  we  perceive  a  leading  principle 
which  must  be  carefully  borne  in  mind  by  the  instructor  of 
boy-choirs.  The  reason  for  this  radically  different  method 
of  dealing  with  the  boy-voice  is  that  the  work  done  is  usually 
a  task  of  reconstruction,  not  of  building  upon  a  first  founda- 
tion. Before  the  application  of  correct  principles  of  vocal  art 
to  his  case,  he  has  in  most  cases  unwittingly  accustomed 
himself  to  certain  incorrect  usages  of  his  most  accessible  tones, 
and  the  serious  faults  thus  acquired  must  be  entirely  overcome 
by  a  special  kind  of  training  peculiar  to  his  case.  The  strenu- 
ous life  which  the  average  American  boy  leads  from  cradle 
to  long  trousers,  has  endowed  him  with  a  forcible  tone  of 
speech  and  song  which  he  emits  with  all  the  vigor  of  muscular 
power  at  his  command.  Baseball,  football,  wrestling,  and 
singing  are  to  him  but  so  many  ways  of  working  off  his  sur- 


THE  DISTINCTIVE  FEATURE  OF  A  BOY-CHOIR. 


55 


plus  energy  and  asserting  the  sturdy  prerogatives  of  his  mas- 
culinity. The  spirit  in  which  he  sings  a  song  is  much  the 
same  as  that  in  which  he  kicks  a  pig-skin  or  breaks  a  race-tape, 
— his  main  idea  being  to  "  win  out."  In  consequence,  the  ex- 
quisite voice  with  which  he  was  gifted  by  nature  has  given 
place  to  a  hoarse,  strident,  and  even  blatant  voice  which  by 
careful  methods  of  culture — proved  invincible  by  widespread 
usage — must  be  restored  to  its  pristine  state  of  sweetness. 
The  quiet  domestic  life  of  the  average  girl  of  the  same  age 
has  fostered  the  best  qualities  of  her  voice  and,  generally 
speaking,  the  development  of  her  voice  requires  no  marked  de- 
viation from  the  conventional  methods.  A  girl's  voice  during 
girlhood  cannot  compare  in  charm  of  tonal  beauty  with  the 
boy's  voice;  it  can  never  attain  to  "that  indefinable  some- 
thing " — to  quote  Mr.  J.  Spencer  Curwen,  F.R.A.M. — which 
is  inherent  in  the  ideal  boy-voice.  The  voice  of  the  cantatrice 
is  always  personal;  the  boy's  voice  scarcely  ever  so.  And 
yet  the  impersonality  of  the  boy's  voice  is  by  no  means  the 
greatest  of  its  charms.  Its  boundless  upward  range  elicited 
from  Caryl  Florio  the  admiring  eulogium,  "  There  is  no  top 
to  a  boy's  voice."  The  tribute  which  the  eminent  scholar  and 
critic,  Mr.  H.  E.  Krehbiel,  once  paid  the  then  famous  Harry 
Brandon  of  New  York,  was  couched  thus :  "  He  can  soar  into 
realms  where  few  living  prime  donne  can  follow  him,  and 
his  voice  is  so  flexible  that  he  sings  the  most  florid  music 
without  difficulty."  We  might  multiply  ad  infinitum  the  en- 
comiums which  the  boy-voice  in  its  perfect  state  of  culture 
has  elicited  from  the  votaries  of  music.  We  might  quote  the 
endless  comparisons  of  the  ideal  boy-voice  with  the  cultured 
female  voice,  in  which  the  former  has  won  by  the  contrast. 

But  we  must  now  proceed  without  further  preliminaries  to 
the  choir-room,  which  is  to  be  the  scene  of  future  labors, 


56  MANUAL  OF  CHURCH  MUSIC. 

and  where  we  are  to  meet  the  young  lads  who  have  been 
selected  according  to  the  principles  enunciated  in  the  first  pages 
of  this  manual.  Bearing  in  mind  the  fundamental  distinctions 
between  the  methods  of  training  the  boy's  and  girl's  voice 
respectively,  we  will  now  reduce  to  application  the  chief  prin- 
ciples of  training  the  former,  which  the  best  authorities, 
English,  Continental,  and  American,  advocate  as  the  desidera- 
tum for  successful  practice. 


CHAPTER  IX. 
The  Training  of  Boys'  Voices. 

THE  training  of  the  boys  must  be  of  two  kinds, — vocal  and 
technical.  Let  us  first  concern  ourselves  with  the  vocal 
training  of  the  soprano-boys.  Technical  training  will  be  con- 
sidered in  a  further  chapter. 

The  first  step  is  to  see  that  the  tones  of  the  scale  are  re- 
cognized and  produced  according  to  their  proper  pitch  by  each 
boy  separately.  The  choirmaster  will  at  once  detect  two  en- 
tirely different  methods  of  singing  in  the  same  pupil.  Up  to 
a  certain  point  in  the  ascent  of  the  scale,  he  will  observe  a 
coarse,  heavy  quality  of  tone,  in  the  production  of  which, 
force  and  conscious  effort  are  conspicuous.  About  that  point 
— which  varies  with  different  boys — the  voice  is  clear  and  of  a 
flute-like  character,  enriched,  in  some  exceptional  instances, 
by  a  most  desirable  suggestion  of  horn-like  quality.  These 
higher  tones  are  produced  without  effort,  and  so  entirely  dif- 
ferent are  they  from  the  lower  tones  of  the  scale  that  it  is 
difficult  to  believe  that  the  different  qualities  of  sound  eman- 
ate from  the  same  lad.  Hereby  is  manifested  the  dual  prin- 
ciple upon  which  every  human  voice  in  the  abstract  is  con- 
structed,— that  is  to  say,  its  natural  division  into  two  general 
registers. 

"A  register,"  says  Emil  Behnke,  "  consists  of  a  series  of 
tones  which  are  produced  by  the  same  mechanism."  The  two 
registers   of   the  boy's   voice,    respectively   denominated   the 

(57) 


58  MANUAL  OF  CHURCH  MUSIC. 

head  and  chest  registers,  are  commonly  called  in  England,  the 
thin  and  thick  registers,  these  adjectives  having  reference  to 
the  quality  of  voice  rather  than  to  the  placing  of  the  tones. 
Some  authorities  term  the  high  head-notes  upper  thin,  and  the 
chest  notes,  lower  thick,  thus  making  four  registers;  but  as 
these  two  added  registers  are  merely  extensions  of  the  two 
stated  ones,  head  and  chest,  and  as  the  same  exercises  are 
used  in  their  development,  they  need  not  be  separately  con- 
sidered. 

If  the  average  boy  undertakes  to  sing  without  instruction, 
or  after  imperfect  teaching,  he  will  inevitably  force  his  chest 
tones  far  up  into  the  range  of  the  head  register.  This  forcing 
of  the  chest-tones  produces  a  most  unpleasant  quality,  and 
incidentally  injures  a  voice. 

Having  discerned  the  break  in  a  voice  wThich  occurs  in  sing- 
ing an  ascending  scale,  the  choirmaster  should  now  have  his 
pupil  descend  the  scale,  commencing  at  F  (fifth  line).  The 
break,  as  we  may  now  call  it,  is  soon  in  evidence  again;  but 
this  time  it  occurs  at  a  lower  point  in  the  scale.  In  this  is 
revealed  the  vital  point  which  should  be  borne  in  mind  through- 
out the  entire  process  of  blending  the  registers. 

The  chest-voice  cannot  only  be  forced  up  into  the  domain 
of  the  head-voice,  but  the  head-voice  can  be  made  to  overlap 
the  chest-voice  in  the  descending  scale. 

By  applying  to  all  the  members  of  the  boys'  section  ex- 
periments similar  to  those  outlined  above,  the  choirmaster  will 
discover  the  same  characteristics  existing  among  them  all, 
though  sometimes  an  exception  is  found.  Obviously,  then,  a 
boy  is  unfit  for  use  in  the  choir  until  he  has  overcome  the 
break  between  the  registers.  Had  he  the  voice  of  a  seraph 
in  his  upper  tones,  he  is  useless  as  a  chorister  while  his  lower 
tones  resemble  those  of  an  auctioneer.     The  purpose  of  scien- 


THE  TRAINING  OF  BOYS'  VOICES. 


59 


tifix:  training  is  apparent.  By  constant  training  only  can  the 
entire  voice  be  brought  into  focus  and  made  uniform  in  quality 
and  degree  of  force.  The  voice  of  the  individual  chorister, 
and  of  the  ensemble,  must  be  treated  upon  definite  and  re- 
cognized principles  of  instruction.  It  is  the  purpose  of  this 
paper  to  indicate  and  emphasize  some  of  the  most  important 
of  these  principles. 

The  elementary  principles  of  correct  practice  are  laid  down 
by  Dr.  George  Martin  of  St.  Paul's  Cathedral,  London :  "  Boys 
should  be  taught  to  open  the  mouth  properly,  and  never  to 
sing  with  the  teeth  closed.  The  tongue  must  not  be  curled 
up,  the  tip  slightly  touching  the  lower  teeth.  Many  masters 
enjoin  an  unnatural  extension  of  the  mouth  in  singing.  The 
best  plan  is  to  make  each  boy  place  his  thumb  edgewise  as  far 
as  the  first  joint.  Then  the  mouth  is  opened  in  its  natural 
position  for  singing.  The  thumb  is  then  to  be  drawn  gently 
away,  leaving  the  teeth  in  the  position  they  occupied  when  the 
thumb  was  between  them.  The  head  should  be  held  erect 
and  any  tendency  toward  throwing  forward  the  chin  should 
be  checked  at  once."  Elsewhere  he  says :  "  The  quality  of 
tone  produced  by  the  boys  in  the  practice-room,  and  by  the 
whole  choir  combined,  should  be  pure  and  free  from  harsh- 
ness, and  the  enunciation  as  clear  as  possible.  The  shape  of 
the  resonance  box  formed  by  the  hollow  of  the  mouth  ma- 
terially affects  the  quality  of  the  tone  produced.  The  master 
should  be  careful  to  check  all  that  kind  of  singing  which  is 
called  '  throaty,'  but  which  might  be  more  accurately  described 
as  tonsillitic,  and  stop  every  form  of  nasal  production." 

The  boys  correspond  readily  with  an  intelligent  system  of 
instruction,  and  they  soon  learn  to  carry  the  thin  register 
downward  so  as  to  include  the  notes  in  the  vicinity  of  the 
"  break."  How  then  shall  the  choirmaster  proceed  to  reduce 
the  necessary  instructions  to  a  definite  system? 


60  MANUAL  OF  CHURCH  MUSIC. 

He  should  bear  in  mind  first  of  all,  that  the  fundamental 
principles  underlying  the  successful  training  of  the  boy's  voice 
are, —  (i)  soft  singing;  (2)  downward  practice  of  scales. 
Commencing  with  F  (fifth  line),  single  tones  should  be  sus- 
tained softly  during  a  slow  emission  of  breaths  to  the  syllable 
"  00,"  and  this  process  should  be  continued  in  chromatic  in- 
tervals as  far  as  the  thin  register  can  be  made  to  descend.  Re- 
turning then  to  high  F,  groups  of  three,  four,  and  more 
tones  in  any  descending  form  may  be  taken  to  the  same 
syllable  "  00."  It  will  not  be  necessary  to  confine  the  prac- 
tice of  the  higher  tones  of  the  thin  register  to  downward  pro- 
gression only.  That  portion  of  the  voice  may  be  dealt  with  so 
as  to  add  to  it  new  upper  tones ;  and  as  such  tones  are  added, 
they  should  form  the  starting-point  for  the  downward  practice 
of  exercises  designed  to  conquer  the  break  between  the  regis- 
ters. The  vowel  sound  "  00  "  is  generally  adopted  as  the 
basic  syllable  for  the  tone-practice  of  boys,  as  it  tends  to  im- 
part a  mellow,  flute-like  character  to  the  voice.  Furthermore, 
it  betrays  at  once  any  tendency  toward  nasal  or  throaty  tone- 
production,  so  that  such  tendency  may  be  corrected  in  its 
incipiency.  The  advantage  of  using  this  vowel  sound  is  in- 
creased by  prefixing  a  consonant  like  K,  or  a  combination  like 
WH;  these  serve  to  project  and  "  place  "  the  vowel  sound 
properly.  "  Having  the  necessary  number  of  boys,"  writes 
Dr.  Tozer,  F.R.C.O.,  "  I  should  then  make  them  sing  scales 
downwards  to  '  Koo/  and  very  easy  diatonic  intervals  to  the 
same  syllable.  They  can  never  sing  in  the  chest  register,  if 
taught  to  use  Koo  for  their  exercises.  Strangle,  at  once,  any 
attempt  to  sing  chest  notes  above  A  (second  space)  and  get 
them  to  carry  the  head  voice  quite  low,  say  E  or  D.  Never 
mind  if  the  quality  be  poor  (it  is  sure  to  be),  it  will  develop. 
Give  them  no  words  to  sing  till  they  see  for  themselves  the 


THE  TRAINING  OF  BOYS'  VOICES.  6l 

difference  between  the  right  and  wrong  way  of  singing; 
then  when  they  do  sing  words,  take  care  that  the  notes 
belonging  to  them  are  produced  in  the  '  head '  or  '  fluty  ' 
register." 

For  the  purpose  of  gaining  flexibility,  "  OO  "  and  "AH  " 
may  be  used  alternately  in  moderately  rapid  passages,  thus, 
commencing  with  F  on  the  fifth  line: 

F   G   E   G   D   G   C   etc. 
AH  OO  AH  OO  AH  OO  AH 
OO  AH  OO  AH  OO  AH  OO 

Mr.  Robert  Louis  Gannon,  Choirmaster  of  the  Mission 
Church  (Redemptorist  Fathers),  Boston,  secures  excellent 
results  in  the  way  of  fluency  by  the  use  of  an  exercise  of 
this  sort. 

One  important  point  to  be  kept  in  mind  is  that  in  practical 
choir  singing,  the  soprano  part  must  be  of  a  tonal  character 
which  will  blend  consistently  with  the  other  parts.  We  have 
all  heard  "  overtrained  "  boy-sopranos,  where  soullessness  of 
voice  is  in  evidence  in  spite  of  faultless  production,  and  whose 
frigidity  of  tone  is  like  the  coldness  of  the  polished  marble 
shaft.  The  boy's  voice  has  been  called  "  angelic " ;  but  it 
must  be  remembered  that  it  has  the  essential  characteristics 
of  the  vox  humana.  When  it  is  blended  with  the  active  voices 
of  a  church  choir,  the  vibrating  string-like  character  should  be 
in  evidence  in  the  soprano  as  well  as  in  the  deeper  parts. 
Where  this  quality  is  lacking,  the  ensemble  effect  is  much  the 
same  as  that  obtainable  in  an  orchestra  in  which  there  are  no 
violinists,  the  upper  parts  being  assigned  solely  to  flutes  and 
light  reed  instruments. 

I  have  endeavored  to  indicate  the  general  scheme  upon 
which  the  cultivation  of  the  boy- voice  must  be  based,  if  the 
choirmaster  is  to  secure  the  best  results.     It  is  recommended. 


62  MANUAL  OF  CHURCH  MUSIC. 

however,  that  he  familiarize  himself  with  some  established 
system  of  vocal  exercises  which  have  produced  recognized  re- 
sults in  choirs  of  international  reputation.  Dr.  Martin's  ex- 
cellent book  *  should  be  in  the  hands  of  every  boy-choir 
leader.  This  book  embodies  some  exercises  from  the  pen  of 
Sir  John  Stainer,  which  for  twenty  years  have  been  used 
daily  in  the  famous  choir  at  St.  Paul's,  London. 

"  The  results  derived  from  correct  training,"  says  Mr. 
Stubbs,  "  are  many,  but  the  most  important  may  be  summed 
up  as  follows : 

"  i.  Beautiful  timbre — a  limpid,  fluid  quality,  which  causes 
a  peculiar  blending  effect,  making  many  voices  sound  as  one. 

"  2.  Extension  of  compass,  bringing  high  notes  within  very 
easy  reach. 

"  3.  The  total  absence  of  the  '  break.' 

"  4.  Singing  '  a  capella '  without  deviation  from  the  pitch. 

"  5.  Ability  to  sing  for  a  long  time  without  fatigue — the 
voices  at  the  end  of  a  three-hour  service  being  as  fresh  as 
at  the  beginning. 

"  6.  Longevity  of  the  treble  voice — the  signs  of  mutation 
appearing  in  many  cases  after  the  age  of  seventeen." 

Theoretically,  the  subject  of  proper  breathing  should  be 
treated  before  that  of  tone-production;  practically,  in  the  case 
of  boys,  it  should  not  be  enlarged  upon  until  after  they  have 
been  taught  once  or  twice  to  produce  tones.  But  for  the 
production  of  sustained  notes  a  regular  system  of  correct 
breathing  must  be  taught  in  the  first  days  of  instruction.  For 
exercise  in  breathing,  we  can  do  no  better  than  quote  again 
Dr.  Martin: 

"  At  the  outset  the  boys  must  be  made  to  stand  in  an  upright 

1  Readers  are  referred  to  Chapter  VII  for  a  list  of  other  valuable  books 
on  this  subject. 


THE  TRAINING  OF  BOYS'  VOICES.  63 

position,  both  feet  being  firmly  planted  on  the  floor.  During  the 
breathing  exercises  the  hands  should  be  placed  behind  the  back  in 
as  easy  an  attitude  as  possible,  so  as  not  to  cramp  the  body  in 
any  way.  The  mouth  must  be  slightly  opened,  and  the  air  drawn 
gently  in.  When  a  full  breath  is  taken,  the  chest,  ribs,  and  abdo- 
men must  be  enlarged  and  expanded.  Any  tendency  to  raise  the 
shoulders  must  be  considered  a  sign  of  bad  breathing.  Four  slow 
beats  should  be  counted  during  this  process,  and  the  breath  should 
be  taken  slowly,  silently,  and  very  evenly.  The  breaths  thus 
drawn  must  be  carefully  retained  in  the  body  without  the  slightest 
escape,  while  four  is  counted.  Then  with  a  strong  effort  of  will 
and  command  of  the  muscles,  the  breath  must  be  evenly  and 
gradually  expired  while  another  four  of  equal  measure  is  counted. 
Thus  twelve  beats  will  be  used.     Four  to  take  breath,  four  to 

hold  it,  and  four  to  let  gently  forth It  is  most  important 

that  the  teacher  should  explain  to  the  boys  that  considerable  men- 
tal force  is  required  to  prevent  the  air  from  rushing  out  too 
quickly  at  the  beginning  of  the  process  of  expiration." 

It  is  also  most  useful  in  breathing-exercises  to  have  the  lads 
stand  with  arms  akimbo  and  palms  of  hands  on  the  hips;  this 
arrangement  affords  even  greater  freedom  to  the  chest  and  ab- 
dominal muscles  than  when  the  hands  are  placed  behind  the 
back.  At  least  five  minutes  of  every  rehearsal  should  be  de- 
voted to  an  exercise  of  this  sort. 

We  have  treated  thus  far  of  the  training  of  the  boy- 
sopranos.  How  does  the  choirmaster  proceed  with  the  altos  ? 
By  precisely  the  same  method,  applied  to  a  range  of  voice  lower 
in  the  scale.  The  break  in  the  alto-voice  must  be  located,  and 
with  the  application  thereupon  of  the  same  method  of  treat- 
ment the  boy-alto  will  develop  a  timbre  of  voice  which  will 
readily  and  beautifully  blend  with  the  flute-like  quality  of 
the  sopranos. 

The  men,  too,  should  be  trained  along  some  such  definite 


64  MANUAL  OF  CHURCH  MUSIC. 

line  of  voice-culture  as  can  be  applied  to  them  en  masse,  in 
sections,  or  as  individuals.  If  they  are  young  men,  just  be- 
ginning their  musical  career,  they  will  appreciate  such  training, 
and  it  will  go  a  long  way  toward  securing  their  steady  co- 
operation in  choir-work.  It  is  most  desirable  that  the  men 
should  use  their  voices  according  to  some  fixed  plan,  and 
that  there  should  not  be  left  loose  among  them  one  individual 
with  personal  peculiarities  in  voice  or  tone  production.  We 
all  know  what  harm  one  twangy,  nasal  tenor,  or  one  chesty 
basso,  can  do  even  in  reasonably  large  choirs.  The  boy-choir 
is  no  place  for  either  of  them.  The  purity  of  tone  which  the 
ideal  choir  of  boys  and  men  can  and  should  attain  to  is,  as  it 
were,  the  clearness  of  crystal.  Natural  flaws  of  voice  in  the 
deeper  parts  can  be  largely  corrected  by  the  use  of  proper 
vocalizing,  and  choirmasters  will  do  well  to  adapt  any  of  the 
recognized  methods  of  voice-production  for  tenors  and  basses 
to  the  use  of  the  men  of  the  choir. 


CHAPTER  X. 
Current  Views  on  the  Use  of  the  Vocal  Registers. 

WE  come  now  to  a  much  mooted  question  among  choir- 
masters, and  the  distinguished  authorities  arrayed  on 
each  side  of  the  question  well  indicate  the  force  of  the  argu- 
ments which  the  supporter  of  each  side  can  produce  in  favor 
of  his  contention.  I  refer  to  the  two  opposite  ways  of  over- 
coming the  break  in  the  registers. 

The  first  way  is  to  smooth  over  the  break  by  blending  at 
that  point  the  two  registers  of  the  voice,  and  subjecting  the 
lower  register  to  treatment  which  will  greatly  modify  it,  but 
by  no  means  obliterate  it.  The  other  way  is  to  eliminate 
absolutely  the  chest  register,  and  to  make  the  chorister  use  his 
thin  register  throughout  the  entire  range  of  his  voice.  Let 
it  be  said  at  the  outset  that  it  is  the  conviction  of  the  writers 
of  this  symposium  that  for  the  purposes  of  rendering  our  music 
the  first  of  these  methods  is  unquestionably  the  better.  The 
difference  of  opinion  has  existed  for  many  years,  and  is  likely 
to  last  for  many  years  to  come. 

Mr.  G.  Edward  Stubbs  emphatically  claims  superior  re- 
sults for  choirs  where  the  thin  register  is  used  exclusively. 
"  The  habitual  use  of  the  thin  register,"  he  writes,  "  through- 
out the  entire  vocal  compass  is  looked  upon  by  not  a  few 
voice-trainers  as  a  '  fad,'  encouraged  and  followed  only  by  a 
few  specialists.  That  it  embodies  the  old  Italian  method,  prac- 
tised for  ages  and  ages  by  the  choirmasters  of  Italy,  and  later 

(65) 


66  MANUAL  OF  CHURCH  MUSIC. 

introduced  into  England,  and  still  later  defended  in  extenso 
by  modem  scientists,  is  a  fact  either  unknown  or  ignored'1  x 
The  votaries  of  the  head-voice  system  claim  for  it,  that — 
( i )   by  singing  only  in  the  thin  register  "  correct  mechan- 
ism of  the  vocal  organs  is  secured." 

(2)  The  chest  tones  of  the  boy- voice  are  the  result  of  bad 
habits  of  speaking  and  singing. 

(3)  Exclusive  use  of  the  head-register  insures  uniform, 
flute-like  quality  throughout  the  whole  compass  of 
the  voice. 

(4)  The  process  of  blending  the  registers  at  a  given  point, 
in  such  a  way  that  the  fusion  of  them  will  be  imper- 
ceptible, is  too  difficult  a  task  for  the  average  choir- 
master to  undertake. 

(5)  The  head-voice  is  more  flexible  and  lends  itself  more 
readily  to  florid  passages  which  require  rapid  jumps 
from  low  to  high  notes. 

(6)  The  tendency  to  lose  the  pitch  in  unaccompanied  music, 
is  not  met  with  so  frequently  in  choirs  where  this  system 
is  the  basis  of  the  vocal  instruction  as  in  choirs  where 
boys  are  permitted  to  sing  with  a  qualified  chest  tone. 

These,  it  appears  to  the  present  writer,  are  the  chief  argu- 
ments which  can  be  alleged  in  favor  of  the  total  eradication 
of  the  thick-register  voice.  Readers  are  left  to  decide  for 
themselves  the  truth  and  force  of  them. 

In  support  of  the  other  system,  we  quote  a  few  words  from 
the  pen  of  Mr.  Krehbiel;  he  is  speaking  of  Mr.  La  Jeune, 
choirmaster  of  St.  John's  Chapel,  New  York : 

"  His  method  differs  from  that  of  the  majority,  in  that  he  does 

'See  Practical  Hints  on  the  Training  of  Choir-Boys — Revised  edition, 
pp.  91  seqq. 


USE  OF  THE  VOCAL  REGISTERS.  fy 

not  permit  the  use  of  the  chest  tones  at  all  by  the  boys.  This  is 
not  because  he  believes  the  chest  tones  of  boys  cannot  be  used 
effectively,  but  because  he  holds  it  is  impossible  to  bridge  over 
the  break  between  the  registers,  in  the  three  or  four  hours'  study 
a  week  which  the  appropriation  for  choir  purposes  enables  him 
to  have.  Mr.  Messiter,  of  Trinity  Church,  holds  decidedly  to  the 
opposite  opinion,  and  on  this  mixed  question  there  are  nearly  as 
many  diverse  views  as  there  are  choirmasters.  As  a  rule,  the 
practice  is  to  train  the  head  voice  downward,  and  to  prohibit  the 
use  of  the  chest  tones  above  G  on  the  second  line  of  the  treble 
staff.  Those  who,  like  Arthur  E.  Cook,  of  Calvary,  split  up  the 
voice  into  more  than  two  registers,  believe  also  in  cultivating  the 
medium  tones,  on  the  ground  that,  while  sweetness  and  purity  of 
tone  are  gained  by  developing  the  head  tones  downward,  the  sing- 
ing of  the  choir  trained  on  this  plan  will  lack  brilliancy/' 

It  is  presumed  that  this  last  statement  refers  to  the  complete 
absence  of  chest  tones  in  training  low  notes  on  the  head  plan. 
Every  authority  advocates  training  downward.  In  fact,  the 
downward  plan,  while  permitting  the  use  of  the  chest  tone,  at 
the  same  time  gives  the  usually  strident  chest  register  a  modi- 
fied character  which  is  apparent  early  in  the  training. 

One  important  consideration  which  the  Catholic  choirmaster 
must  take  into  account  in  settling  for  his  own  practice  the 
merit  of  this  question,  is  that  the  chorister  must  be  fitted  to  sing 
the  Gregorian  Chant  instead  of  music  which  has  been  es- 
pecially written  with  reference  to  his  paramount  abilities,  as  is 
the  case  in  the  Anglican  Church.  The  chant  is  of  wide  range 
and  varied  character,  oftentimes  calling  for  great  virility  of 
tone;  the  insipidity  of  a  voice  trained  entirely  in  the  head  re- 
gister would  be  entirely  inadequate  to  the  requirements.  For 
example:  the  Victimae  Paschali  sung  throughout  in  the  thin 
register,  supposing  of  course  that  the  low  notes  could  be  thus 
reached,    would   lose   its   triumphant   character.     If   this   se- 


68  MANUAL  OF  CHURCH  MUSIC. 

quence  is  transposed  to  a  pitch  where  it  can  be  sung  readily 
in  the  head  register,  the  effect  of  such  a  passage  as  "  Die 
nobis  Maria  "  and  "Angelicas  testes,"  the  victorious  character 
of  the  melody  is  lost  in  its  trivial  treatment.  The  effect 
would  be  something  like  that  of  bugle  call  to  arms  played  upon 
fifes.  The  difficulty  in  this  particular  sequence  could  be  obvi- 
ated, it  is  true,  by  the  particular  phrases  in  question  being  given 
to  altos  or  basses;  but  such  solutions  in  the  general  rendering 
of  the  chant  are  not  always  practicable.  The  boy's  voice 
must  be  trained  to  meet  any  emergencies  in  the  chant. 

To  sum  up.  (i)  According  to  Mr.  Krehbiel,  the  majority 
of  choirmasters  advocate  the  retention  of  the  chest  register  in 
a  modified  form.  (2)  For  all  practical  purposes,  a  qualified 
chest  tone  seems  indispensable  in  Catholic  music. 

Having  decided  to  train  the  boys  on  this  principle,  choir- 
masters should  take  a  method  of  dealing  with  the  chest  regis- 
ter which  shall  tend  to  free  it  from  all  symptoms  of  harsh- 
ness and  bridge  over  the  break  between  the  registers.  Soft 
singing  and  downward  practice  of  scales  from  a  point  in  the 
thin  register  must  be  insisted  upon.  Choristers  must  be  given 
individual  practice.  By  application  and  patience  and  the  exer- 
cise of  ingenuity  and  invention  to  cover  special  cases  the  habit 
of  singing  smoothly  over  the  break  can  be  acquired.  Before 
leaving  the  subject  of  tone-production  it  would  be  well  to 
mention  that,  upon  the  attainment  of  proficiency  in  singing, 
the  general  practice  need  not  be  confined  exclusively  to  down- 
ward progressions,  although  this  should  still  be  the  prevail- 
ing method. 


CHAPTER  XL 
The  Technical  Training  of  the  Choir. 

WE  shall  consider,  in  this  chapter,  the  training  of  the  choir- 
members  in  such  of  the  theoretical  principles  as  are  neces- 
sary to  them. 

First,  a  certain  amount  of  technical  training  is  absolutely 
indispensable.  This  must  be  taken  as  final,  for  although  the 
correct  vocal  training  of  the  singers,  and  particularly  of  the 
boys,  is  of  greater  importance,  yet  a  choir  that  has  not  been 
thoroughly  grounded  in  the  fundamentals  of  musical  theory 
will  be  always  unreliable;  never  sure,  never  accurate. 

The  disadvantages  of  working  with  a  "  catch  as  can " 
choir,  a  choir  that  sings  by  ear,  and  not  by  note,  are  many : 

(a)  Much  valuable  time  is  wasted  in  learning  new  pieces; 

(b)  The  repertoire  will  be  greatly  limited,  because  a  con- 
siderable portion  of  excellent  church  music  is  too  diffi- 
cult for  such  a  choir  to  attempt ; 

(c)  The  singers  have  not  the  necessary  independence,  inas- 
much as  they  must  trust  to  their  ears  to  suggest  the 
the  correct  note  at  the  correct  time;  disastrous  "breaks" 
are  liable  to  occur  at  almost  any  moment  ; 

(d)  "Attack  "  is  often  tentative  and  weak; 

(e)  An  infinite  amount  of  energy  is  unnecessarily  expended 
by  the  choirmaster;  both  in  teaching  the  choir,  and  in 
leading  it  at  services. 

On  the  other  hand,  a  choir  that  can  read  music  fluently, 
and  interpret  readily  the  various  musical  signs,  can  aim  at 
learning  the  most  difficult  music.     Fugues  have  no  terrors  for 

(69) 


7o 


MANUAL  OF  CHURCH  MUSIC. 


such  a  choir;  the  more  complicated  the  counterpoint,  and  the 
more  elaborate  the  figure,  the  more  vigorous  and  enthusiastic 
will  be  the  rendition.  Such  a  choir  can  easily  acquire  a  reper- 
toire which  will  allow  a  pleasing  variety  in  the  music  sung. 
It  can  give  intelligent  expression  to  movements  where  an  ill- 
trained  choir  would  be  at  sea;  it  can  sing  polyphony  with  an 
easy  flow,  and  accurately;  in  a  word,  it  has  many  advantages 
over  an  insufficiently  educated  choir. 

The  writer  has  attended  many  rehearsals  of  a  well-known 
Catholic  chancel-choir  in  this  country.  Every  visit  to  the 
practice-room  of  this  choir  brings  a  new  revelation  of  the 
fluency  of  both  the  boys  and  the  men  in  reading  at  sight  from 
the  Gregorian,  modern,  and  a  modified  form  of  the  Tonic- 
solfa  notations.  The  choirmaster  spends  a  part  of  each 
rehearsal  in  practising  sight-singing,  and  the  result  is  that  the 
most  difficult  fugal  compositions,  and  the  most  florid  chants  are 
regularly  rendered  with  incredibly  little  effort.  At  each  re- 
hearsal, a  portion  of  the  practice-time  should  be  devoted  to 
theory.  Choirmasters  will  find  that  they  can  dispense  with 
instruction  in  theory  only  at  their  ultimate  inconvenience. 
Fifteen  minutes  in  an  hour's  practice  is  not  too  much  time  to 
spend  in  sight-reading.  The  reading  not  only  of  modern 
music,  but  also  of  Gregorian  Chant,  must  be  studied  and  mas- 
tered. The  rudiments  of  modern  music  must  be  studied  until 
each  chorister  is  thoroughly  acquainted  with  them.  He  should 
be  able  to  name  all  notes  in  all  of  the  lines  and  spaces,  and 
some  of  the  leger  lines,  with  their  accidentals,  and  to  explain 
the  various  time-values.  He  should  be  familiar  with  the 
signatures  of  the  different  keys,  and  he  should  understand 
the  various  marks  of  expression. 

"A  good  choir,  men  and  boys,"  writes  Dr.  Martin,  "  ought 
to  be  able  to  read  ordinary  music  at  sight.     It  ought  not  to 


THE  TECHNICAL  TRAINING  OF  THE  CHOIR.  yi 

be  necessary  to  try  pieces  of  moderately  difficult  music  many 
times  before  making  it  as  perfect  as  circumstances  will  permit. 
The  blackboard  should  be  in  constant  use,  and  at  first,  at 
each  lesson,  the  scale  of  C  major  should  be  written  out,  and 
the  boys  requested  to  sing  any  note  pointed  out  by  the  teacher. 
This  should  form  part  of  every  lesson.  Later  on,  other 
scales  may  be  taken  and  accidentals  introduced.  Another 
most  useful  exercise  is  to  distribute  a  collection  of  chants, 
single  and  double,  and  sing  them  through  in  consecutive  order, 
the  teacher  explaining  the  new  scale  to  the  pupils  when  neces- 
sary; but  to  do  this  with  any  success,  considerable  advance 
must  have  been  made  in  the  theory  of  music." 

A  good  method  for  learning  to*  read  modern  music  at  sight 
should  be  introduced.  Tuft's  method  is  an  ideal  one,  thorough, 
and  easy  of  comprehension.  It  is  founded  upon  the  movable 
Do  system,  by  which  each  scale  commences  with  Do.  The 
lessons  are  deftly  arranged,  and  the  progress  of  the  boys  in 
assimilating  them  is  remarkable.  The  system  founded  upon 
the  fixed  Do  is  most  unsatisfactory.  It  has  always  proved  a 
great  task  to  teach  boys  to  commence  a  new  scale  on  a  differ- 
ent sound,  thus :  C  scale  on  Do,  D  scale  on  Re,  G  scale  on 
Sol,  etc.  As  a  matter  of  fact,  every  scale  is  structurally 
identical.  If  C  on  a  piano  is  tuned  up  to  D,  and  every  suc- 
ceeding note  accordingly,  a  perfect  D  scale  will  be  heard. 
This  is  where  the  movable  Do  makes  sight-singing  easy. 
Every  new  scale  starts  on  Do,  and  the  perfect  uniformity  of 
the  diatonic  scale-intervals  is  impressed  on  the  boy's  mind 
without  conscious  effort  on  his  part. 

Dr.  J.  Varley  Roberts,  of  Magdalen  College,  Oxford,  agrees 
that:  "  i.  The  best  method  is  that  called  the  'movable  Do'; 
that  is,  to  make  '  Do  '  the  tonic  or  keynote  of  the  music  sung 
in  any  particular  key.     Modulations  should  be  explained  on 


72  MANUAL  OF  CHURCH  MUSIC. 

the  blackboard.  When  a  transition  into  a  new  key  takes 
place,  then  the  tonic  of  such  new  key  should  of  course  be- 
come the  '  Do.' 

"  2.  If  boys  have  been  taught  the  tonic-solfa  system  in 
school  it  is  all  the  better  for  the  choirmaster,  as  the  know- 
ledge of  scales,  intervals,  modulation,  etc.,  obtained  by  this 
method  can  be  applied  to  the  system  of  notation. 

"  3.  The  system  of  a  fixed  '  Do,'  i.  e.,  always  assigning 
the  note  C  as  the  ''Do,'  is  altogether  a  wrong  one  (for  many 
obvious  reasons),  and  can  lead  to  no  satisfactory  result." 

The  movable  Do  will  also  facilitate  the  reading  of  the  chant 
in  which  the  position  of  the  notes  on  the  staff  is  relative. 

It  is  exceedingly  unfortunate  that  in  some  quarters  the 
necessity  is  thought  to  exist  for  editions  of  the  liturgical 
books  in  modern  instead  of  Gregorian  notation.  While  such 
editions  are  designed  to  facilitate  the  ready  reading  of  the 
Chant,  it  is  to  be  feared  that  they  preclude  any  rational  inter- 
pretation of  its  spirit  and  rhythm  as  indicated  in  the  original 
notation.  The  staff,  notes,  and  clefs  of  the  latter  are  not  at 
all  formidable.  Probably  the  chief  fancied  obstacle  to  its  easy 
mastery  is  the  fact  that  the  pitch  of  the  notes  indicated  there- 
by is  relative  instead  of  absolute.  But  if  so,  the  books  in  mod- 
ern notation  do  not  relieve  this  difficulty  in  the  slightest  de- 
gree, for  in  them  each  Chant  composition  is  reduced  to  the 
natural  scale  of  C,  which  the  organist  must  customarily  trans- 
pose into  a  key  suited  to  the  compass  of  the  voices.  The  dis- 
position of  the  Gregorian  melody  into  a  convenient  vocal  range 
is  quite  as  elementary  a  matter  as  the  transposition  from  the 
scale  of  C  into  another  determined  scale.  Several  very  serious 
difficulties  are  involved  in  the  use  of  this  unsatisfactory  ex- 
pedient of  modern  notation,  by  which  the  general  musical  effi- 
ciency of  organist  and  singers  is  bound  to  be  jeopardized  to 


THE  TECHNICAL  TRAINING  OF  THE  CHOIR. 


73 


some  extent;  for  it  is  hardly  to  be  supposed  that  professional 
musicians  are  going  to  confine  the  entire  extent  of  their  musi- 
cal activities  to  the  one  art  form  of  Gregorian  Chant.  I  refer, 
first,  to  the  unwise  and  detrimental  tampering  with  the  sense 
of  absolute  pitch,  rare  enough  at  best,  which  is  involved  in 
habitual  transposition  from  one  determined  key  to  another; 
whereas,  the  pitch  of  the  notes  on  the  Gregorian  staff  is  rela- 
tive only.  I  next  allude  to  the  annihilation  of  the  sense  of 
positive  tempo  which  must  follow  the  use  of  quarter  and  eighth 
notes  which,  at  the  same  time,  are  not  to  be  considered  as 
such,  but  treated  rather  according  to  the  free  rhythm  of  the 
Chant.  As  a  still  further  complication,  some  of  the  Tournai 
books  in  modern  musical  characters  contain  dots  over  the 
music  of  the  accented  syllable  or  word  in  order  to  indicate 
emphasis.  The  dot  is  the  same  as  that  used  to  indicate 
staccato  in  modern  music,  which  term  bears  a  very  different 
signification.  Metronome  marks  are  also  used  sometimes 
presumably  to  indicate  a  standard  of  speed,  but  as  the  Chant 
is  without  determined  tempo,  the  metronome  marks  but  add 
to  the  general  confusedness.  A  church  choir,  however  much 
an  easy  or  "  royal  road  to  learning  "  may  seem  to  be  desirable 
to  them,  should  by  no  means  be  subjected  to  the  necessity  of 
such  mental  contortions  as  are  consequent  upon  the  use  of  a 
makeshift  notation  which  is  supposed  to  mean  one  thing  for 
this  and  another  thing  for  that.  The  pliant  and  mellifluous 
character  of  the  Chant,  as  properly  interpreted  from  the 
Gregorian  staff,  is  in  great  contrast  with  the  stilted  and  lab- 
ored production  which  can  hardly  be  avoided  when  it  is  de- 
lineated by  means  of  this  incongruous  attempt  at  a  modern 
notation  which  confounds  the  significance  of  its  various  tokens. 
The  Reverend  clergy  would  do  well  to  consider  these  points, 
and  in  giving  their  orders  for  the  new  liturgical  books,  see  to 
it  that  they  obtain  the  real  chant  notation  for  their  choirs. 


CHAPTER  XII. 

Rehearsals. 

D  ROPER  facilities  must  be  provided  for  regular  practice. 
*  The  choir-room  should  be  kept  sacred  for  choir  purposes, 
so  that  it  may  be  accessible  at  all  times.  The  choir  should 
not  be  expected  to  have  quarters  with  Sodalities  and  Leagues, 
not  to  mention  sewing-classes  and  the  Altar  Society.  The 
appointment  of  rehearsals  should  never  depend  upon  whether 
the  room  is  previously  occupied  by  the  St.  Vincent  de  Paul 
Society  or  the  Church  Debt  Association.  The  conscientious 
choirmaster  will  be  obliged  to  make  many  appointments  for 
personal  practice,  at  all  sorts  of  hours,  and  the  scene  of  action 
should  be  always  available  to  his  purpose. 

The  piano  should  be  one  with  horizontal  strings,  either 
grand  or  square,  so  that  the  choirmaster  can  sit  facing  the 
choir  with  an  unimpeded  view.  The  benches  should  be  com- 
fortable, but  not  conducive  to  lounging,  and  they  should  be 
arranged  as  nearly  as  possible  according  to  the  plan  of  the 
choir-stalls  in  the  sanctuary.  A  blackboard  with  white  lines, 
or  better,  a  white  board  with  black  lines  for  the  musical  staff, 
should  occupy  a  commanding  position.  It  would  add  to  the 
general  musical  effect  if  a  few  pictures  representing  musical 
subjects,  for  instance  St.  Cecilia,  or  some  of  the  great  com- 
posers, could  hang  on  the  walls.  The  cassocks  and  surplices 
of  the  members  should  hang  in  lockers  built  along  the  sides 
of  the  room.  This  would  centralize  the  choir  equipment,  and 
would  avoid  the  confusion  which  would  inevitablv  result  from 

(74) 


REHEARSALS. 


75 


mutual  accommodation  for  choir  and  altar  boys.  A  closet  for 
books  and  music  should  be  provided  in  the  choir-hall,  and 
some  regular  method  for  keeping  the  music  in  repair  devised. 
The  choirmaster  will  find  it  convenient  to  appoint  as  librarians 
certain  reliable  boys  whose  duty  it  shall  be  to  distribute  and 
gather  up  the  music,  and  see  that  it  does  not  become  worn 
beyond  chance  of  repair. 

As  to  the  number  of  rehearsals,  if  the  best  quality  of  work 
is  desired,  from  four  to  six  hours  a  week  for  the  boys,  and 
two  or  three  hours  a  week  for  the  men  is  none  too  much. 
The  boys  should  be  rehearsed  one  hour  on  each  of  the  five 
school  days,  then  allowing  them  an  absolute  holiday.  When 
the  boys  attend  the  parochial  school,  an  arrangement  between 
pastor,  teachers,  and  choirmaster  should  be  made  by  which  a 
part  of  the  rehearsal  can  come  out  of  the  class  hours.  One  of 
the  great  aims  of  the  school  boy  is  to  "  get  out  of  class,"  and  he 
would  gladly  hew  wood  or  carry  water  to  attain  this  end.  It 
has  been  abundantly  proved  that  in  a  choir  practice  the  best 
work  is  done  in  that  portion  of  the  hour  when  the  lads  have 
the  satisfaction  of  knowing  that  they  are  out  of  class  while 
their  classmates  are  "  grinding."  The  time  between  the  clos- 
ing of  school  and  twilight  is  naturally  given  but  grudgingly 
by  the  boys.  Such  an  arrangement  as  I  have  just  suggested 
might  entail  an  extra  degree  of  management  upon  the  school 
Sisters,  but  they  are  ever  susceptible  to  the  inspiration  "  ad 
majorem  Dei  Gloriam."  The  men  of  the  choir  should  have 
at  least  two  rehearsals  a  wreek;  and  on  Friday  night  of  each 
week  there  should  be  a  full  rehearsal  of  boys  and  men ;  this  is 
considered  to  be  the  best  night  for  the  general  practice,  for  it  is 
sufficiently  late  in  the  week  to  admit  of  gathering  up  the  re- 
sults of  the  previous  days'  rehearsals,  and  preparing  them  for 
the  Sunday  which  is  to  follow.     The  singing  on  Sunday  will 


76  MANUAL  OF  CHURCH  MUSIC. 

be  characterized  by  all  the  greater  freshness  and  spontaneity 
on  account  of  the  previous  day's  rest.  Where  the  boys  are 
not  taken  from  the  parochial  school,  it  is  not  easy  to  hold  the 
lehearsals  so  frequently.  But  there  should  not  be  fewer  than 
three  rehearsals  a  week  for  the  boys,  one  for  the  men,  and 
one  general  practice  for  all  together.  It  would  be  a  folly  to 
hope  for  good  results  if  less  time  than  this  were  devoted  to 
practice. 

"  Our  rehearsal-time  is  unfortunately  too  short,"  writes  Mr. 
Bellenot  of  St.  Sulpice,  "  about  an  hour  or  three-quarters  of  an 
hour  daily — when  there  is  no  morning  office  to  be  sung.  It 
consists  of  sustained  tones  and  vocalizations,  etc." 

"A  great  many  people,"  says  Dr.  Martin,  "  suppose  that 
all  the  children  of  the  choirs  of  various  cathedrals  sing  well 
because  they  possess  excellent  voices.  This  is  a  mistake. 
Almost  all  the  charming  quality  of  vocal  tone  observed  in  the 

choirs  of  cathedrals  is  acquired  in  the  practice-room 

It  is  the  regular  training  obtained  in  the  practice-room  .  .  . 
which  produces  the  result  so  much  admired  and  so  worthy  of 
admiration.  The  choirmaster  who  would  attain  a  like  effect 
must  resort  to  like  means." 

Our  consideration  as  to  the  amount  of  time  to  be  devoted  to 
choir-practice  can  best  be  concluded  in  the  words  of  A.  Madeley 
Richardson,  Mus.  Doc,  F.R.C.O. :  "  To  carry  his  work  to  a 
successful  issue,  the  choirmaster  must  have  ample  time  and 
know  how  to  put  it  to  the  best  use.  An  hour  a  day  with  per- 
haps one  day  a  week  as  a  holiday,  is  a  reasonable  amount  of 
time  to  devote  to  choir-work  with  boys.  If  this  time  is  used 
to  the  best  advantage,  it  will  be  productive  of  great  benefit  to 
the  boys,  and  will  give  possibilities  of  raising  their  singing 
to  a  very  high  level." 

The  question  is  often  raised,  "  How  long  a  time  must  neces- 


REHEARSALS. 


77 


sarily  elapse  between  the  organization  of  a  choir  and  its  in- 
stallation in  the  sanctuary?"  Three  months  is  the  minimum 
of  time  required  for  the  proper  preparation.  Six  months 
would  be  more  reasonable,  and  one  full  year  is  to  be  highly 
recommended.  Of  course,  many  pastors  are  so  situated  that 
the  solution  of  this  question  is  thrust  suddenly  upon  them 
and  in  such  manner  that  it  must  be  solved  by  the  first  means 
which  come  to  hand.  But  in  places  where  the  former  choir  of 
mixed  voices  is  suddenly  disbanded,  and  the  liturgical  choir  is 
not  yet  ready  for  a  public  appearance,  the  pastors  would  do 
well  to  have  Low  Mass,  or  to  engage  a  temporary  unison 
choir  of  three  or  four  men.  If  a  sanctuary  choir  starts  upon 
its  career  in  a  crude,  unfinished  state,  it  will  lay  up  for 
itself  the  criticism  and  opposition  of  many  years  to  come.  If, 
on  the  contrary,  it  enters  upon  the  performance  of  its  functions 
in  a  condition  of  thorough  fitness,  its  success  is  infallibly 
ensured. 

The  prudent  pastor,  in  this  regard,  is  he  who,  reading  the 
signs  of  the  times,  and  observing  the  straws  which  indicate 
how  the  wind  blows,  at  once  sets  about  preparing  a  chancel- 
choir.  If  he  commences  intelligently  and  permits  himself  a 
full  year  for  preparation,  there  is  no  doubt  but  that  the  new 
liturgical  choir  will  enter  upon  its  career  in  such  manner  as 
abundantly  to  vindicate  its  installation  and  to  win  the  approval 
of  all  interested. 

The  best  mode  of  procedure  in  the  rehearsal  room,  which 
has  come  under  the  notice  of  the  writer,  is  given  by  Dr.  Tozer, 
of  London : 

"  Never  '  nag '  a  choir,  or  poke  fun  at  individual  members.  If 
any  one  member  is  at  fault,  speak  of  the  part  to  which  he  belongs, 
and  not  of  the  individual  himself,  as  being  so.  Make  faultfind- 
ing general,  and  often  include  one's  self :  e.  g.,  '  We  were  not 


78  MANUAL  OF  CHURCH  MUSIC. 

right  on  such  a  point.'  Maintain  your  dignity,  but  without  any 
absurd  haughtiness.  After  a  rehearsal  is  over,  mix  naturally 
with  your  members,  and  take  an  interest  in  some  of  their  concerns, 
outside  the  mere  choir  work :  e.  g.,  their  trades,  professions,  fami- 
lies, etc.  A  question  or  two  on  these  things  shows  the  friend, 
after  you  have  dropped  the  official. 

"  At  a  practice,  get  everything  you  want  ready  before  you  begin. 
All  music  should  be  on  the  desks  before  a  note  is  sung.  Have  a 
list  prepared  beforehand  of  all  you  will  want.  Give  it  to  your 
librarian,  whose  duty  it  will  be  to  see  that  it  is  properly  attended 
to.  Let  him  begin  at  the  bottom  of  the  list ;  then  the  music  you 
want  first  at  the  rehearsal  will  be  uppermost  on  the  desk. 

"  When  practising,  discourage  desultory  conversation.  If  you 
hear  it,  say  firmly,  but  quite  nicely :  '  Kindly  allow  me  to  do  the 
talking,  and  you  do  the  singing/ 

"  A  short  break  every  fifteen  or  twenty  minutes  is  useful  to 
keep  the  voices  from  getting  tired.  Go  straight  on  with  the  vari- 
ous items  you  have  on  your  list  without  any  '  waits  '  (except  as 
above)  ;  it  maintains  keenness  and  makes  a  choir  alert. 

"  Find  places  quickly  and  quietly,  and  on  Sundays  always  have 
a  service  list  with  everything  written  down  in  proper  order  and 
precisely.     One  list  to  every  two  members  prevents  all  discussion. 

"  In  correcting  errors,  do  not  correct  everything  as  it  occurs,  if 
the  slips  are  comparatively  unimportant.  Take  a  page  or  two  at 
a  time.  Memorize  the  errors  and  point  them  out ;  show  how  the 
passages  ought  to  be  sung,  and  begin  again. 

"  If  the  choirmaster  is  organist  also,  let  him  show  how  he 
suggests  an  effect  on  the  organ  by  his  manner  of  playing;  tell 
the  singers  always  to  keep  an  ear  for  this.  He  can  suggest  quietly 
a  certain  method  of  rendering  a  passage  which  they  will  catch  at 
once  if  they  understand  him. 

"  Tell  them  you  can  hear  them  in  pianissimo  passages,  when 
perhaps  they  cannot  hear  your  accompaniment;  that  being  so, 
they  must  not  get  into  a  state  of  panic.  They  should  keep  sing- 
ing just  the  same,  knowing  that  you  are  at  the  helm  to  avert  any 
disaster,  should  one  be  imminent." 


PART  III. 

THE  PLACE  OF  THE  ECCLESIASTICAL  MUSIC 
AMONG  THE  ARTS. 


CHAPTER  XIII. 

The  Gregorian  Chant. 

H^HE  pontificate  of  our  present  Holy  Father,  Pope  Pius  X, 
■*■  has  marked  a  most  important  era  in  the  history  of  Church 
music.  The  regulations  which  have  been  proposed  for  many 
centuries  by  Popes,  Councils,  and  Decrees  of  the  Sacred  Con- 
gregation have  been  epitomized  and  enjoined  by  the  reigning 
Pontiff  in  such  fine  detail  of  distinction  that  there  is  no  room 
for  irregularity  of  practice  on  any  ground,  whether  of  mis- 
understanding of  his  inculcations  or  an  assumption  of  dis- 
ability generally  to  carry  out  the  same.  The  characteristic 
of  Church  music  as  a  distinctively  ecclesiastical  art  has  been 
made  evident,  and  we  are  now  bound  to  conform  our  prac- 
tice to  the  rules  of  the  Church  and  confine  ourselves  to  a 
repertoire  which  is  legitimate  under  the  legislation  which 
authority  has  propounded.  The  principle  governing  both  the 
selection  of  our  singers  and  of  the  music  which  they  are  to 
sing  having  thus  been  made  a  forensic  one,  those  placed  in 
charge  of  choirs  have  no  choice  in  the  premises  but  to  conduct 
themselves  accordingly  and  work  for  results.  Of  them,  there 
is  no  reason  to  be  apprehensive. 

It  should  be  understood  from  the  start  that  the  music  now 
declared  authoritative  is  of  the  supremest  order  of  excellence 
and  capable  of  the  highest  artistic  development.  Not  less  than 
by  reason  of  its  liturgical  appropriateness,  has  it  been  selected 
from  the  enormous  musical  product  of  the  Christian  era  by 
the  corresponding  reason  of  its  inherent  beauty.     Mastered  by 

(79) 


80  MANUAL  OF  CHURCH  MUSIC. 

the  well  educated  choir  of  male  voices,  the  musical  offering 
cannot  only  square  with  the  legislation  concerning  it,  but  it  is 
abundantly  replete  with  artistic  possibilities  commensurate 
with,  and  infinitely  superior  for  its  purpose  to  the  standard 
heretofore  furnished  by  the  familiar  mixed  choir  of  male  and 
female  voices  now  abrogated  by  authority. 

Church  music  may  be  divided  into  three  general  classifica- 
tions,—  (i)  the  Gregorian  Chant,  (2)  the  classic  polyphonic 
music  of  the  fifteenth  and  sixteenth  centuries,  and  (3)  music 
composed  in  modern  times  and  according  to  the  general  rules 
of  modern  style,  but  within  the  lines  laid  down  by  the  specifica- 
tions of  the  Motu  proprio  of  November  22,  1903. 

It  is  clearly  evident,  upon  a  careful  study  of  the  Motu  proprio 
in  its  various  sections,  that  a  most  palpable  object  of  its  insist- 
ence is  the  restoration  of  the  Gregorian  Chant.  Its  common 
employment  for  both  ordinary  and  extraordinary  purposes  is 
positively  assumed,  and  not  only  is  much  of  the  particulariza- 
tion  which  follows  clearly  based  only  upon  the  postulate  that 
the  directions  therein  contained  shall  be  unquestionably 
obeyed,  but  it  is  utterly  incapable  of  interpretation  except  upon 
this  theory.  This  point  is  so  obvious  as  to  be  beyond  all  dis- 
pute. No  evasion  or  circumlocution  can  explain  or  modify 
one  phrase  of  the  Motu  proprio  into  a  less  positive  construc- 
tion. As  certainly  as  women  are  dismissed  from  the  choir, 
and  boys  ordered  in  their  places  by  the  Chief  Pastor  himself, 
so  certainly  is  the  customary  use  of  the  Gregorian  Chant  made 
obligatory.  Even  in  such  authorization  as  is  given  to  other 
styles  of  music,  the  following  rule  is  laid  down :  "  The  more 
closely  a  composition  for  Church  approaches  in  its  movement, 
inspiration,  and  savor  the  Gregorian  form,  the  more  sacred 
and  liturgical  it  becomes;  and  the  more  out  of  harmony  it  is 
with  that  supreme  model,  the  less  worthy  is  it  of  the  Temple." . 


THE  GREGORIAN  CHANT.  8 1 

It  would  seem  to  the  purpose  that  we  should  thus  dwell  for 
a  brief  pause,  not  so  much  upon  the  superlative  excellence  of 
the  Chant  as  sung  by  male  voices,  as  upon  the  peremptoriness 
and  far-reaching  character  of  the  mandate  concerning  it. 

To  many,  and  certainly  to  those  in  authority,  it  is  evident 
that  the  retirement  of  women  from  the  choir  and  the  restora- 
tion in  ordinary  practice  of  the  Chant  are  the  two  necessary 
exactions,  by  the  enforcement  of  which  our  Church  music  is 
to  be  delivered  from  the  utter  secularization  and  corruption 
which  have  long  threatened  it,  although  to  others  of  equal  can- 
dor these  requirements  would  seem  to  constitute  serious  diffi- 
culties which  are  to  be  deplored,  but  not  wantonly  controverted. 

As  to  the  obligation  by  which  those  in  charge  of  Church 
music  are  to  provide  that  Plain  Chant  is  to  be  made  the  first 
consideration  of  repertory,  both  its  ethics  and  legal  force  re- 
quire that  the  singers  should  not  neglect  a  thorough  study  of 
of  the  Chant  for  any  purpose  whatever.  In  other  words,  until 
such  time  as  the  various  Masses  and  the  Office  of  Vespers 
or  Compline  can  be  sung  to  the  Chant  prescribed  by  the 
liturgical  books,  the  choir  should  not  experiment  in  modern 
music  to  any  considerable,  and  most  certainly  not  to  a  dis- 
proportionate, extent.  It  is  a  short-sighted  and  erroneous  idea 
to  imagine  that  a  smattering  of  the  Chant  will  suffice  for  the 
new  choir,  while  its  principal  efforts  can  be  expended  in  work 
which  indulges  a  modern  taste  and  involves  greater  display. 
Display  and  the  self-consciousness  of  which  it  is  begotten,  are 
the  very  things  to  be  most  studiously  avoided  in  the  choir.  The 
exclusion  of  women  is  an  important  step  toward  this  desirable 
consummation,  and  the  use  of  Gregorian  Chant,  which  accen- 
tuates the  solemnity  of  the  sacred  rite  rather  than  the  exploita- 
tions of  the  singers,  is  a  corresponding  check  upon  any  tend- 
ency toward  ostentation.     With  the   distinct  understanding, 


82  MANUAL  OF  CHURCH  MUSIC. 

therefore,  that  the  Motu  proprio  means  exactly  what  it  says  on 
the  subject  of  Gregorian  Chant,  we  shall  do  well  to  devote  a 
short  space  to  a  resume  of  its  venerable  origin. 

The  Gregorian  Chant,  or  Roman  Choral,  as  it  is  also  prop- 
erly called,  is  of  composite  derivation.  It  is,  primarily,  the 
metamorphosis  of  the  musical  system  which  prevailed  among 
the  Greeks  in  the  halcyon  days  when  Hellenic  art  was  in  its 
glorious  ascendancy.  The  Grecian  music,  traceable  itself  to 
remote  Egyptian  and  Phoenician  origin,  reached  its  highest 
development  in  the  renowned  days  of  the  classic  drama. 
Adopted  with  qualifications  by  the  Romans  also,  though  never 
so  assiduously  cultivated  by  them,  it  represents  the  state  of 
artistic  culture  which  music  had  attained  at  the  dawning  of 
the  Christian  era.  Of  a  character  suited  to  the  demands  of 
the  magnificent  drama  which  was  produced  on  a  scale  of 
august  stateliness  surpassing  the  dreams  of  the  most  en- 
thusiastic visionary  of  our  times,  its  virility  withstood  the  de- 
cline and  disruption  of  the  transitional  period  and,  regener- 
ated and  transformed,  it  blossomed  forth  anew  in  the  garden 
of  Christian  art.  Together  with  the  system  of  music  derived 
from  the  Greeks,  remnants  of  the  Hebrew  temple  music,  par- 
ticularly of  the  Psalms,  were  incorporated  into  Christian  wor- 
ship by  early  Jewish  converts.  Of  course,  it  is  not  to  be  un- 
derstood that  Christian  music  fashioned  itself  definitely  accord- 
ing to  the  Modes  of  the  Greeks  and  Romans  or  the  chant  of 
the  Hebrews,  but  that,  taking  into  account  the  disintegration 
and  demolition  which  ensued  upon  the  decadence  of  Greek 
and  Roman  art  and  the  various  conditions  attendant  upon  the 
assimilation  of  Judaism  into  the  new  religion,  the  general 
scheme  of  Christian  music  was  naturally  based  upon  these  two 
existent  types. 

We  need  not  dwell  longer  upon  the  origin  of  the  cantos  of 


THE  GREGORIAN  CHANT.  83 

the  Church,  nor  need  we  consider  the  enlargement  of  its  scope 
and  unfolding  of  its  genius  as  Christianity  emerged  from  the 
period  of  persecution.  Its  further  history  through  the  re- 
visons  of  the  Ambrosian  and  Gregorian  epochs,  and  the  later 
compilations  of  the  liturgical  books  of  various  periods,  are 
matters  well  known  to  the  student.  The  last  signal  culmina- 
tion of  its  progress  up  to  the  accession  of  the  present  Pope 
was  the  issuance  of  the  famous  Ratisbon  edition  of  the  Chant 
during  the  pontificate  of  Pope  Pius  IX,  and  its  publication  by 
Messrs.  Pustet  &  Co.  under  a  thirty  years'  privilegium  which 
lasted  through  the  reign  of  Pope  Leo  XIII  and  expired  but  last 
year.  Meanwhile,  an  exhaustive  archaeological  research  into 
original  and  authentic  forms  of  the  Chant  which  had  been 
undertaken  and  long  pursued  by  the  Benedictines  of  Solesmes, 
produced  results  of  advanced  scholastic  perfection,  and  the 
publications  of  the  Solesmes  Chant  from  the  presses  of 
Messrs.  Desclee,  Lefebvre  &  Co.,  Tournai,  Belgium,  presented 
a  serious  claim  to  the  recognition  of  the  Church.  Pope  Pius 
X,  convinced  that  the  Solesmes  version  of  the  Chant  represents 
the  most  accurate  and  ideal  form  of  the  same,  has  promulgated 
this  result  of  the  profound  erudition  of  the  Benedictines  as 
the  official  Chant  for  the  use  of  the  Catholic  world.  As  a 
final  precaution  and  guarantee  of  its  authenticity,  he  has  or- 
dered its  most  scrupulous  revision  and  issuance  from  the 
Vatican  presses.  It  is  understood  that  the  new  liturgical  books 
will  be  forthcoming  at  an  early  date,  and  that  the  former  pub- 
lishers of  the  Solesmes  Benedictines  at  Tournai  have  been 
granted  the  privilege  of  issuing  duplicate  editions.  The  prices 
will  not  be  prohibitive,  and  every  means  will  be  taken  for  the 
thorough  dissemination  of  this  revised  edition  of  Plain  Chant, 
which  will  form  the  basis  for  the  Gregorian  restoration  now 
inaugurated  by  the  Holy  See. 


84  MANUAL  OF  CHURCH  MUSIC. 

It  is  an  error  to  assume  that  the  technical  study  of  the  Chant 
on  the  part  of  the  choirmaster  who  is  well  grounded  in  the 
modern  musical  system,  is  such  a  very  complex  matter.  The 
intervals  of  the  different  Gregorian  Modes  are  represented  in 
the  diatonic  scale  plus  b  Hat,  and  while  the  choirmaster  should 
most  certainly  understand  the  formation  and  relation  of  the 
Modes,  the  process  of  their  study  by  no  means  implies  that 
in  the  execution  of  the  Chant  he  should  eliminate  the  modern 
scale  from  his  mind,  and  revise,  almost  to  the  point  of  com- 
plete inversion,  his  ordinary  habits  of  musical  thought.  On 
the  contrary,  the  modern  natural  scale,  constituting  as  it  does 
the  fixed  order  of  diatonic  sound  sequence,  (permitting,  of 
course,  as  in  Plain  Chant,  the  use  of  Si  Hat  in  order  to  avoid 
the  augmented  fourth  or  tritonus),  serves  him  as  the  standard 
melodic  norma  upon  which  he  can  locate  the  successive  tones 
according  to  their  modal  progression. 

In  another  chapter  will  be  found  suggestions  as  to  means  by 
which  the  choirmaster  can  properly  undertake  the  technical 
study  of  the  Chant.  The  singers  can  be  spared  much  of  such 
technical  study  and  interpret  the  Chant  more  in  accordance 
with  the  principles  which  they  would  apply  to  music  composed 
agreeably  to  modern  rules. 

We  now  arrive  at  a  question  which  should  be  thoroughly 
pondered,  and  determined  only  upon  a  careful  weighing  of 
the  forcible  arguments  which  are  adduced  by  theorists  whose 
convictions  upon  the  subject  differ.  Is  it  permitted,  in  sing- 
ing Plain  Chant,  to  deviate  at  times  from  the  unisonal  char- 
acter which  is  at  the  basis  of  its  fabric  and  spirit  and,  for  the 
expression  of  an  extraordinary  degree  of  musical  sentiment, 
to  break  forth  into  vocal  harmony  ?  Notwithstanding  opinions 
to  the  contrary  and  a  consistent  practice  to  that  effect  by  many 
of  the  most  prominent  votaries  of  the  Chant,  it  is  our  decided . 


THE  GREGORIAN  CHANT.  85 

conviction  that  within  such  limits  as  are  generally  conceded 
to  the  principles  of  organ  accompaniment  to  the  Chant,  its 
harmonization  for  voices  is  permitted  and  at  times  advisable. 
The  principle  which  once  admits  the  harmonized  organ  ac- 
companiment to  the  Chant  admits  also  its  vocal  harmonization. 
It  is  true  indeed  that  the  Chant  was  not  harmonized  in  its 
early  days.  And  why  ?  Because  any  such  thing  as  a  concor- 
dant relation  of  sounds  was  unheard-of.  But  as  soon  as  there 
arose  those  who  could  effect  anything  like  a  consonance  of 
tones,  the  attempt  was  made.  Hucbald's  clumsy  Organum 
of  the  tenth  century,  and  the  more  pretentious  discant,  or 
diaphonia,  triaphonia,  etc.,  which  followed  it  in  the  twelfth 
century,  were  attempts  in  this  direction.  The  falsi  bordoni 
to  which  Mr.  W.  S.  Rockstro  upon  clear  evidence  ascribes 
a  date  a  full  century  and  a  half  before  that  between  1305 
and  1377,  which  is  usually  assigned,  was  the  next  accomplish- 
ment of  note  in  this  regard.  The  Gregorian  melody  upon 
which  all  these  manipulations  of  concordant  parts  were  based, 
remained  as  an  immutable  voice  part,  and  was  designated  as 
the  cantus  firmus.  The  contrapuntists  of  the  Palestrina  school 
based  their  colossal  masterpieces  upon  Gregorian  themes  and 
reduced  such  themes  to  definite  rhythm  for  that  purpose,  and 
we  submit  that  a  fixed  rhythm  to  the  Chant  is  quite  as  opposed 
to  the  early  conception  of  it  as  is  a  harmonization  of  it.  In 
all  of  these  achievements  of  note,  in  which  such  stupendous  re- 
sults were  evolved  from  early  and  almost  barbarous  approxi- 
mations, we  discern  a  principle  of  blending,  rather  than  con- 
fusion of  art  forms,  upon  which  we  consider  ourselves  justi- 
fied in  defending  a  legitimate  harmonization  of  the  Chant  for 
voices.  We  are  well  aware  that  there  is  thus  propounded  a 
principle  which  is  capable  of  abuse.  But  we  do  not  believe 
that  any  possible  trifling  with  such  a  privilege  upon  the  part 


86  MANUAL  OF  CHURCH  MUSIC. 

of  the  incompetent  can  possibly  be  so  detrimental  to  the  ulti- 
mate success  of  the  Gregorian  restoration  as  would  be  the 
attempt,  for  the  sake  of  strict  interpretations  which  we  do  not 
consider  altogether  warranted,  to*  repress  entirely  the  innate 
tendency  of  our  singers  toward  "  singing  in  parts."  It  is  to 
be  seriously  feared  that  the  choirmaster  who  endeavors,  for  the 
sake  of  an  academical  and  pedantic  principle,  to  train  the  aver- 
age American  choir  along  strictly  uncompromising  unisonal 
lines,  would  soon  be  confronted  by  the  threatened  dispersion 
of  his  singers,  and  perhaps  experience  the  collapse  of  his  own 
enthusiasm.  In  further  suggestions  as  to  the  practical  teach- 
ing of  the  choir,  it  will  be  assumed,  conformably  to  our 
theories  upon  the  permissibility  of  vocal  harmonization,  that 
it  is  to  be  allowed.  We  must  be  prudent  in  this  regard, 
however,  and  avoid  the  chromatic  treatment  which  we  ordin- 
arily apply  in  harmonizing  modern  melody. 

The  organ  accompaniment  to  the  Chant  constitutes  a  large 
subject  which  can  be  treated  intelligibly  only  in  detail  and 
in  a  volume  devoted  primarily  to  it.  Its  general  principles 
are  well  summed  up  in  the  appendix  to  the  Magister  Choralis. 
The  matter  is  well  expounded  and  illustrated  in  the  writings  of 
Witt,  Haller,  Belt j  ens,  Piel,  Mettenleiter  and  Oberhoffer. 
Messrs.  Novello,  Ewer  &  Co.  are  about  to  issue  a  treatise  on 
Gregorian  accompaniment  by  Louis  Niedermeyer  and  Joseph 
d'Ortigue,  the  latter  of  whom  is  the  chairman  of  the  Paris 
Liturgical  Commission.  It  is  translated  into  English  by  Mr. 
Wallace  Goodrich  and  should  prove  a  useful  volume. 


CHAPTER  XIV. 
How  to  Teach  the  Gregorian  Chant. 

WE  should  now  proceed  to  a  formulation  of  a  practical 
method  by  which  the  choir  shall  commence  its  study  of 
Gregorian  Chant  compositions.  The  section  of  the  concentus 
of  the  Mass  designated  in  the  books  of  the  Liturgy  as  the 
Cantus  Ordinarii  Missae  should  first  claim  our  attention. 
While  the  Church  prescribes  a  special  Mass  according  to  the 
liturgical  rank  of  the  day  upon  which  it  is  to  be  sung,  with  the 
provision  of  certain  Masses  which  may  be  sung  ad  libitum,  it 
is  unavoidable  that,  at  the  start,  the  Masses  must  be  sung  as 
they  can  be  learned  rather  than  as  they  may  be  required. 
Assuming  that  we  are  first  arranging  the  preparation  of  two 
alternate  Masses,  let  us  commence  with  the  Mass  for  ordin- 
nary  Sundays  within  the  year  (Orbis  Factor)  and  the  first 
Mass  for  Double  Feasts  (Cnnctipotens  Genitor  Dens).  These 
standard  Masses  will  furnish  a  most  practical  introduction  to 
the  beauties  of  Plain  Chant.  It  would  be  well,  at  the  same 
time,  to  have  a  section,  or  two,  three,  or  four  alternating  sec- 
tions of  the  full  choir  (boys  only,  if  more  practicable),  prepare 
the  Missa  pro  defunctis  for  use  as  occasion  may  require. 
After  the  acquirement  of  these  Masses,  it  will  be  found  an 
easy  matter  to  add  the  other  Chant  Masses,  one  at  a  time, 
in  the  order  which  shall  suggest  itself  to  the  choirmaster,  who 
by  this  time  should  be  getting  well  into  touch  with  the  new 
order  of  things.     It  is  doubtless  the  intention  of  the  Church, 

(87) 


88  MANUAL  OF  CHURCH  MUSIC. 

and  it  is  the  custom  of  cathedrals  and  churches  of  note,  gener- 
ally, to  sing  one  Mass  complete,  rather  than  the  Kyrie  eleison 
from  one  Mass,  the  Credo  from  another,  etc.  This  rule  should 
be  adhered  to,  except  in  cases  of  such  necessities  as  may  natur- 
ally arise  in  the  unripe  stages  of  the  choir's  growth. 

What  special  treatment  can  be  given  to  the  musical  produc- 
tion of  the  Gregorian  Masses  in  order  that  they  may  be  sung 
with  the  highest  religious  and  artistic  effect?  In  the  first 
place,  we  must  remember  that  they  lose  nothing  of  their 
solemnity  and  suitability  for  purposes  of  worship,  if  they  are 
sung  strictly  in  unison.  Here  again  we  must  remember  that 
unison  singing  does  not  mean  the  singing  of  a  given  melody  by 
boys  and  men  together;  that  is  singing  in  octaves,  on  account 
of  the  difference  of  eight  tones  in  pitch.  Such  octave  singing 
is  all  right  at  times,  but  a  little  of  it  goes  a  long  way.  Unisonal 
treatment  of  Masses,  or  sections  of  Masses,  would  require  that 
the  trebles  and  deeper  voices  should  sing  separate  sections. 
By  thus  alternating,  and  the  use  of  an  occasional  octave  pass- 
age, a  varied  interpretation  can  be  secured.  This  principle  of 
alternation  should  be  made  free  use  of,  where  the  assortment 
of  voices  permits.  In  many  Masses,  particularly  in  the  two 
named  herein,  there  is  possibility  for  beautiful  effects  in  alter- 
nating contrasts  of  unison  and  varied  harmony,  with  due  re- 
gard for  shading  and  expression.  Gradations  of  tone  from  the 
softest  piano  to  the  fortissimo  of  the  musical  climax;  full 
chorus ;  the  succession  of  movements  in  unison  for  boys'  voices 
followed  by  others  in  four-part  harmony ;  movements  in  unison 
for  mens'  voices  succeeded  by  such  a  solo  passage  or  "  melodic 
projection  "  as  is  allowed  by  the  Motu  proprio,  followed  yet 
again  by  sections  in  four,  or  less  than  four,  or,  as  far  as  the 
capabilities  of  the  choir  and  the  construction  of  the  music 
permit, — of  more  than  four-part  harmony;  trio  or  quartette 


HOW  TO  TEACH  THE  GREGORIAN  CHANT.  89 

sentences,  and  grand  chorus  again, — all  these  illustrations  indi- 
cate how  the  capable  choirmaster  can  so  treat  a  Chant  com- 
position that  it  will  be  a  revelation  of  beauty.  Of  course,  in 
choirs  lacking  the  proper  balance  of  voices,  these  varying  ef- 
fects cannot  be  secured,  and  during  the  early  progress  of  the 
Chant  instauration,  it  may  be  generally  necessary  to  render 
Church  music  in  more  plain  and  severe  style  than  may  be 
aimed  at  for  the  future,  when  the  new  order  of  things  is  held 
better  in  hand. 

While  the  first  Masses  are  being  studied,  the  responses 
should  be  thoroughly  learned,  including  the  answers  in 
various  Modes  to  Ite  missa  est  and  Benedicamus  Domino. 
Both  the  plainer  responses,  and  the  majestic  responses  at  the 
Canon,  can  be  harmonized,  and  the  latter  particularly  can  be 
shaded  and  finished  to  a  degree  which  will  prove  truly  up- 
lifting and  inspiring. 

The  Proprinm  de  Tempore  is,  on  account  of  its  elaborateness, 
the  most  serious  difficulty  the  choir  has  to  face.  From  the  out- 
set, the  choir  must  take  no  liberties  with  the  sacred  text  of  the 
Liturgy.  It  must  be  sung,  every  word  of  it,  and,  if  possible, 
to  the  proper  Chant  melody.  If  this  simply  cannot  be  done, 
some  temporary  expedient  must  be  resorted  to  until  it  can  be 
accomplished.  The  singing  of  the  Proper  recto  tono  or  to 
the  Psalm-tone  of  the  Modes  in  which  its  specified  parts  may 
be  written,  is  not  the  ideal  way,  but  it  is  far  better  to  sing  it 
thus  than  to  leave  out  the  words,  which  latter  alternative  is 
simply  out  of  the  question.  As  the  ability  of  the  choir  comes 
to  correspond  more  closely  to  the  demands  made  upon  it, 
special  parts  of  the  correct  melodies  of  the  Proper  should  be 
regularly  mastered, — for  instance,  those  of  the  Introits,  Alle- 
luias, and  Jubilations,  and  so  on  until  it  is  possible  to  sing 
them  in  entirety.     Perhaps  it  would  be  well  at  first  to  con- 


9o 


MANUAL  OF  CHURCH  MUSIC. 


fine  the  singing  of  the  Proper  to  some  six  singers,  more  or 
less,  who  need  sing  none  of  the  other  music.  This  will  give 
opportunity  for  more  thorough  and  special  rehearsal,  and 
guarantee  a  successful  musical  rendering  of  this  important 
portion  of  the  Mass  until  such  time  as  the  choir  has  become 
proficient  and  able  to  sing  it  according  to  its  exact  notation. 

In  teaching  the  choir  to  sing  the  liturgical  Vespers,  it  will 
be  found  necessary  to  remember  that  Vespers  rendered  in 
choir  is  a  very  different  service  from  the  usual  inexact  even- 
ing function  which  we  have  been  accustomed  ordinarily  to 
call  by  that  name.  With  the  installation  of  the  choir  in  the 
chancel,  it  will  be  possible  to  start  at  once  with  both  the  pre- 
scribed music  and  ceremonies.1  With  the  proper  division  of 
the  choir  into  antiphonarians,  cantors,  and  chorus,  each  chor- 
ister has  his  definite  work  to  do,  and  the  Office  assumes  the 
character  of  symmetry  and  completeness  contemplated  by  the 
Church.  The  Psalms  should  be  chanted,  not  by  verses  alter- 
nating in  solo  and  chorus,  but  in  the  antiphonal  style, — that 
is,  from  one  side  of  the  choir  to<  the  other,  if  the  choir  is 
seated  on  both  sides  of  the  chancel,  or  from  one  section  to 
another,  if  it  is  grouped  on  one  side.  The  Antiphons  to  the 
Psalms  are  very  similar  throughout  the  year,  and  they  are 
particularly  interesting,  as  they  represent  one  of  the  very 
earliest  developments  of  Chant  composition.  If  it  is  not 
feasible  at  first  to  sing  them  to  the  assigned  melodies,  they  may 
be  recited  recto  tono.  If  the  Reverend  Clergy  assert  the  privi- 
lege of  the  celebrant  at  Vespers  to  intone  the  Antiphons  to 
the  first  Psalm  and  Magnificat  (his  intonation  of  the  first  line 
of  the  Hymn  is  of  course  also  understood),  they  can  at  once 
place  the  singing  of  the  Antiphons  on  a  determined  status  and 

'Consult  Martinucci,  Volume  II. 


HOW  TO  TEACH  THE  GREGORIAN  CHANT. 


91 


ensure  study  of  them  by  those  who  are  appointed  to  sing-  them. 
The  Hymns  and  Versiculi  must  be  sung,  and  great  will  be  the 
spiritual  edification  of  our  Catholic  people  as  this  thesaurus 
of  hymnody  becomes  familiar  to  their  ears.  The  hymns  are 
in  the  four  classic  metres,  iambic,  trochaic,  sapphic  and 
asclepiadic.  The  melodies  are  not  difficult, — indeed,  they  are 
peculiarly  attractive.  After  following  them  through  the  course 
of  a  year,  they  are  easily  retained  in  mind  and  associated  with 
the  particuliar  festival  or  season  with  which  they  are  identi- 
fied. If  the  task  of  preparing-  them  regularly  is  found  im- 
possible at  first,  suitable  grave  tunes  may  be  selected  from  more 
modern  sources  to  which  several  hymns  of  similar  metrical 
construction  may  be  sung.  If  it  be  objected  that  the  sug- 
gestions of  this  chapter  admit,  as  in  the  case  of  the  Proper 
of  the  Mass,  and  the  Antiphons  and  Hymns  of  Vespers,  a 
too  marked  deviation  from  the  prescribed  Chant  form — we 
are  speaking  now  only  of  the  accumulation  of  a  Chant  reper- 
toire, not  upon  the  permissibility  of  modern  music  as  such, 
upon  which  we  shall  dwell  later — it  may  be  said  that  such  con- 
cessions are  suggested  only  for  the  first  one,  two,  or  three  years, 
or  until  the  choir  has  attained  to  a  state  of  advancement  which 
will  admit  of  its  adherence  to  the  standard  melodies.  Much 
of  the  existing  prejudice  against  the  Chant  has  undoubtedly 
been  provoked  by  the  rude  and  unskilful  attempts  which  have 
often  been  made  toward  its  production,  and  the  choir  will 
accomplish  far  more  in  the  end  by  endeavoring,  at  this  junc- 
ture, to  do  part  of  it  well  than  all  of  it  badly. 

We  have  now  arrived  at  the  principal  point  of  Vespers. 
The  Psalmody  of  the  Old  Law  has  merged  into  the  Canticle  of 
the  New  Law.  The  prophecy  of  the  Dixit  Dominus  is  fulfilled 
in  the  Magnificat.  The  words  of  Holy  Mary  ascend,  while 
priest  and  people  "  magnify  the  Lord  "  with  the  Virgin  Mother 


92  MANUAL  OF  CHURCH  MUSIC. 

through  whom  salvation  was  bestowed  upon  mankind.  The 
promise  to  our  father  Abraham  is  commemorated,  and  the 
new  covenant  of  grace  is  proclaimed.  The  ritual  culminates 
at  this  point.  The  priest  and  sacred  ministers  offer  incense 
at  the  altar,  and  the  chant  assumes  a  new  solemnity  as,  with 
enhanced  tone,  the  salvation  of  Israel  is  announced  in  the 
words  of  her  whose  "fiat  mihi  secundum  verbum  tuum"  caused 
to  dawn  the  joyful  day  of  the  world's  Redemption.  The  choir 
should  certainly  distinguish  between  the  method  of  rendering 
the  Psalmody  and  that  of  chanting  the  Magnificat.  The  tones 
of  the  Psalms  are  given  specially  elaborated  forms  when  as- 
signed to  the  Magnificat,  and  these  forms  should  never  yield 
to  the  relative  plainness  of  the  Psalm  tone.  A  treatment  of 
the  Magnificat  in  alternating  unison  and  harmony,  with  effects 
of  shading  and  color  corresponding  to  those  suggested  for  a 
similar  rendition  of  Chant  Masses,  can  be  brought  to  bear  with 
solemn  and  sublime  effect  upon  its  rendering. 

The  musical  responses  which  follow,  and  the  answers  to  the 
Orations  and  Commemorations  should  be  treated  with  care,  and 
it  would  not  be  amiss  to  harmonize  them. 

One  of  the  four  Anthems  of  the  Blessed  Virgin,  according 
to  the  season,  is  now  sung.  The  Solesmes  Chant  affords  both 
a  cantus  solemnis  and  cantus  ferialis  for  these  masterworks  of 
religious  praise.  The  Chant  melodies  should  be  scrupulously 
studied.  They  are  beautiful  productions,  and  upon  their  re- 
currence year  after  year  they  will  surely  obtain  a  tenacious 
hold  upon  the  minds  and  hearts  of  those  who  sing  and  listen 
to  them,  particularly  so  when  we  consider  some  of  the  execra- 
ble settings  of  them  which  have  flourished  in  the  days  of  back- 
gallery  pre-eminence,  and  which,  alas!  are  echoing  yet.  Be- 
fore Benediction,  a  motet  can  be  sung  in  modern  style,  if  so 
desired.     This  will  be  referred  to  later,  under  another  classi- 


HOW  TO  TEACH  THE  GREGORIAN  CHANT. 


93 


fication.  The  Tanticm  ergo  at  Benediction  should  be  of  a 
deeply  religious  character,  and  sung  "  after  the  traditional 
form  of  the  hymn."  This  is  made  the  subject  of  a  special  or- 
der in  the  Motu  proprio.  The  Gregorian  melodies  are  far  bet- 
ter suited  to  this  supreme  act  of  adoration  by  which  the  day's 
worship  is  brought  formally  to  a  close,  than  modern  settings 
of  the  hymn.  There  are  many  exquisite  selections  in  Plain 
Chant  which  can  be  used  after  the  Offertorium  at  High  Mass 
or  as  Benediction  motets,  which  are  capable  of  rich  musical 
interpretation,  and  these  should  be  made  the  most  of  for 
their  purpose.  As  examples,  we  may  note  Rorate  coeli,  for 
Advent;  Adeste  Udeles,  for  Christmas;  Attende  Domine  and 
Parce  Domine,  for  Lent;  Adore  Te  devote,  Panis  angelicas, 
etc.,  for  general  use  at  Benediction.  The  Litany  of  the 
B.  V.  M.  should  also  be  learned  and  sung  in  Plain  Chant. 
The  greater  part  of  the  modern  settings  to  the  Litany  so 
mutilate  its  text  that  it  is  doubtful,  to  say  the  least,  if  they  are 
entitled  to  the  prescribed  indulgences.  In  fact,  the  popular 
settings  of  the  Litany  in  which  or  a  pro  nobis  is  sung  not  after 
each  title,  but  after  groups  of  three  titles,  were  quite  recently 
declared  unindulgenced. 

It  is  suggested  that  where  the  singing  of  Vespers  is  not  pos- 
sible, the  Office  of  Compline,  on  account  of  its  practical  un- 
changeableness,  could  be  learned  and  rendered  with  less  diffi- 
culty than  Vespers. 

A  choir  which  has  reached  the  stage  where  High  Mass  and 
Vespers  can  be  well  rendered  in  the  manner  above  suggested, 
has  conquered  the  most  difficult  obstacles  of  its  career.  The 
repertoire  already  mastered  should  be  faithfully  kept  up,  and 
additions  should  be  made  to  the  same  as  opportunity  allows. 
All  of  the  liturgical  Masses  should  be  learned,  in  order  that 
certain  of  the  Masses  may  not  regularly  be  used  ad  libitum 


94  MANUAL  OF  CHURCH  MUSIC. 

for  festivals  which  have  special  Masses  assigned  to  them.  The 
Proper  of  the  Mass  as  well  as  the  Antiphons  and  Hymns  of 
Vespers,  should,  as  soon  as  possible,  be  brought  to  the  state  of 
perfection  indicated  in  the  books  of  the  Liturgy.  All  solemn 
Offices,  such  as  those  for  Holy  Week,  should  be  fittingly  ren- 
dered as  they  occur.  The  amateur  choir  should  not  soar  to 
heights  above  its  ability,  nor  should  the  skilled  choir  become 
so  interested  in  exploiting  musical  effects  as  to  deem  the 
slightest  inflection  of  Chant  of  small  importance.  The  music 
of  worhip  must  be  so  produced  that  its  impersonal  character 
and  musical  excellence  shall  be  ever  in  evidence.  It  is  the 
expressed  command  of  the  Holy  Father  that  the  music  should 
be  "  good  in  itself/'  and  also  that  it  should  be  "  adapted  to 
the  power  of  the  singers  and  always  well  executed." 


CHAPTER  XV. 
The  Classic  Polyphony. 

WHAT  have  we  in  America  in  this  twentieth  century  to  do 
with  the  heritage  of  polyphonic  art  which  has  come  to  us 
from  the  masters  of  the  fifteenth  and  sixteenth  centuries,  of 
whom  Giovanni  Pierluigi  da  Palestrina  is  generally  considered 
to  be  the  archetype? 

The  idea  seems  to  prevail  very  largely  that  the  music  of 
this  school  is  of  a  nebulous,  enigmatical  character,  capable  of 
being  understood  in  this  age  only  by  the  musical  historian,  and 
existing  only  in  manuscripts  covered  with  dust  and  cobwebs  in 
the  Sistine  Chapel  and  historic  Continental  Cathedrals.  Such, 
as  we  shall  see  later,  is  not  the  case. 

True,  the  music  of  the  classic  polyphony  is  of  a  character 
which  is  indescribably  ethereal,  sublime,  and  in  many  ways 
infinitely  transcendental  to  modern  music  as  revealed  even  in 
its  most  rapturous  effects.  The  absolute  perfection  of  its 
science,  its  marvellous  blending  of  voices  of  varied  timbre,  its 
kinship  to  the  highest  forms  of  renascent  art,  and  its  associa- 
tion with  what  was  best,  holiest,  and  noblest  in  the  Church, — 
all  these  entitle  it  to  the  reverent  admiration  of  the  wrorld  and 
should  inspire  a  serious  interest  in  its  study. 

The  original  manner  of  writing  the  contrapuntal  composi- 
tions would  be  incomprehensible  to  the  average  musician  of 
these  days.  The  unaccompanied  melody  of  Plain  Chant, 
which,  being  incapable  of  further  melodic  development,  lent 

(95) 


96  MANUAL  OF  CHURCH  MUSIC. 

itself  to  the  treatment  of  the  newly-discovered  science  of 
counterpoint,  formed  the  basis  for  the  polyphonia  which  was 
destined  to  achieve  such  wonders  under  the  masterly  mani- 
pulation of  the  composers  of  the  Netherlands  and  Italy,  and 
even  of  far-off,  comparatively  isolated  England. 

The  output  of  the  contrapuntists  was  exceedingly  copious,  and 
doubtless  much  of  it  never  saw  the  light.  Still,  an  enormous 
quantity  of  the  composition  of  the  time  has  been  preserved  and 
duly  published.  Were  such  compositions  available,  however, 
only  in  the  many-clef ed  and  otherwise  complex  scores  of  the 
masters,  we  might  indeed  relegate  the  hope  of  hearing  in  this 
country  the  music  of  Palestrina  and  the  other  composers  of 
the  polyphonic  period,  to  the  dim  distance.  But  many  musi- 
cians of  fame  have  appreciated  this  grave  difficulty,  and  are 
directing  their  praiseworthy  skill  to  the  deciphering  of  the 
labyrinthine  scripts  of  the  masters  of  counterpoint,  and  the 
reduction  of  the  same  to  the  modern  methods  of  musical 
writing  for  voices  to  which  we  are  now  accustomed. 

The  well-known  firm  of  Breitkopf  and  Haertel,  Leipsic,  have 
long  since  published,  among  much  music  of  the  polyphonic 
school,  the  complete  works  of  Palestrina,  Orlando  di  Lasso  and 
Vittoria,  from  plates  which  are  an  excellent  demonstration  of 
the  perfection  of  the  engraver's  art.  This  firm  is  now  en- 
gaged in  the  publication  of  a  still  more  lucid  edition  of  con- 
trapuntal music  reduced  to  the  common  clefs  of  G  and  F  and 
provided  with  phrasing  marks  and  metronomic  indications, 
under  the  editorship  of  the  noted  priest-musician,  the  Rev. 
Hermann  Bauerle  of  the  Diocese  of  Rottenburg.  Of  this 
superb  edition,  there  have  already  been  published  the  follow- 
ing four-part  Masses:  Aeterna  Christi  munera,  Brcvis,  Dies 
sanctificatus,  Emendemus,  Jesu  nostra  redemptio,  Iste  Con- 
fessor, Lauda  Sion,  Sine  nomine  I  (X  toni),  Sine  nomine  II 


THE  CLASSIC  POLYPHONY. 


97 


(IV  toni),  and  Veni  sponsa  Christi,  Palestrina;  and  Simile  est 
regnum  coelorum  and  Ave  Maris  Stella,  Vittoria.  Fifteen 
Motets  by  Vittoria  have  been  published  in  this  edition,  and 
five  others  of  his  Masses  and  thirty  Motets  for  various  occa- 
sions by  Palestrina  are  now  in  press. 

Another  new  and  equally  excellent  edition  of  classified  music 
of  the  Roman,  Venetian,  and  Netherlands  schools  is  now  in 
course  of  publication  under  the  auspices  of  the  Paris  Schola 
cantorum,  and  several  volumes  have  already  been  issued.  It 
has  the  benefit  of  the  highly  able  editorship  of  Charles  Bordes, 
whose  zeal  in  the  Church  music  restoration  has  won  for  him 
special  plaudits  from  the  Holy  See.  The  volumes  of  this 
Repertoire  des  Chant eurs  de  Saint  Gervais  which  have  been 
published  up  to  this  writing-  are  most  useful  editions  of  prac- 
ticable polyphonia.  It  is  suggested  in  this  connection,  that 
there  is  no  better  medium  by  which  pastors  and  choirmasters 
in  America  can  keep  pace  with  the  significant  growth  of  the 
reform  movement  in  Church  music  than  through  La  Tribune  de 
Saint  Gervais,  published  at  269  Rue  Saint- Jacques,  Paris.  It 
is  the  monthly  bulletin  of  the  Schola  cantorum,  and  Church 
music  is  treated  therein  according  to  its  large  and  important 
scope.  The  American  firm,  Messrs.  J.  Fischer  &  Brother, 
New  York,  has  shown  alacrity  and  enterprise  in  conforming 
to  the  new  requirements,  and  affords  a  reliable  medium 
through  which  to  deal  with  foreign  publishers. 

As  a  practical  basis  upon  which  to  start  a  study  of  contra- 
puntal form,  the  following  list  of  music  in  addition  to  com- 
positions edited  by  the  Rev.  Hermann  Bauerle  which  have 
already  been  published,  is  suggested.  Except  where  con- 
trarily  stated,  it  is  confined  to  the  Saint  Gervais  edition.  The 
voice  parts  do  not  exceed  five  in  any  of  the  Masses  or  motets 
herein  named  and  most  of  them  are  for  four  voices.     Com- 


98  MANUAL  OF  CHURCH  MUSIC. 

positions  of  extreme  difficulty  are  not  mentioned,  as  we  are 
vet  a  long  way  from  the  study  of  such  ideals  of  classical  style. 

Masses. — Nos  antem  gloriari,  Soriano ;  0  Re  gem  coeli,  and 
Ascendo  ad  Pair  em,  Palestrina;  0  quam  gloriosum  est  regnum 
and  Quarti  toni,  Vittoria;  Douce  memoir  e,  di  Lasso. 

Motets. — Ave  Christ e  immolate,  Ave  Maria,  and  Ave 
verum  Corpus,  des  Pres;  Domine,  convert  ere,  Pauper  sum  ego, 
and  Verbum  caro  panem  verum,  di  Lasso;  Ave  maris  stella, 
CJiristus  f actus  est,  and  Pie  Jesu,  Anerio;  Assumpta  est  Maria, 
Ave  Regina,  Salve  Regina,  Regina  coeli,  and  F actus  est  re- 
pente,  Aichinger;  Ego  sum  pauper  et  dolens,  Croce;  Angeli 
archangcli,  Filiae  Jerusalem,  and  Sacerdos  et  Pontifex,  A. 
Gabrieli;  Cant  ate  Domino,  Hasler;  Adoramus  Te  Christe, 
Exultate  Deo,  Ego  sum  panis  vivus,  0  bone  Jcsu,  O  admir- 
abile  commercium,  and  Alma  redemptoris  Mater,  Palestrina; 
0  sacrum  convivium,  Viadana;  and  Domine,  non  sum  dignus, 
Ecce  sacerdos  magnus,  Duo  seraphim  clamabant,  Jesu  dulcis, 
0  magnum  mysterium,  0  vos  o nines,  and  Gaudent  in  coelis, 
Vittoria. 

One  of  the  Breitkopf  &  Haertel  volumes  of  Palestrina's 
works  contains  thirty-two  settings  of  the  Magnificat,  and 
among  them  there  can  be  found  some  which  in  degree  of  mod- 
erate difficulty  rank  about  as  the  selections  above  named. 
They  are  obtainable  separately.  Of  a  character  fully  com- 
mensurate with  the  music  of  the  above  list  is  that  of  William 
Byrd,  of  the  contemporaneous  school  in  England,  and  I  would 
suggest  the  study  of  the  following  among  his  motets  :  Vigilatc; 
Respice,  Domine,  de  sanctuario  tuo;  Lactcntur  coeli,  et  exultet 
terra;  and  Vcni,  Domine,  noli  tardare.  A  typical  edition  of 
some  of  Byrd's  compositions  is  issued  by  the  (English)  Anti- 
quarian Society,  and  they  can  also  be  generally  obtained 
through  English  publishers. 


THE  CLASSIC  POLYPHONY. 


99 


It  is  yet  very  early  in  the  stage  of  Church  music  reform  to 
aim  at  any  speedy  accomplishment  in  the  line  of  the  classic 
polyphony.  The  methods  common  to  our  modern  singing  in 
chorus  are  altogether  different  from  the  system  required  in 
the  polyphonic  rendition.  The  basic  structure  of  the  Modes 
in  which  the  contrapuntal  compositions  are  written  is  entirely 
different  in  the  relations  of  their  intervals  to  the  final,  from 
that  of  the  diatonic  scale  plus  Si  flat,  which  we  now  use. 
We  cannot  approach  the  study  of  these  compositions  so  well, 
if  at  all,  by  the  application  of  modern  principles  turned  his- 
torically backward,  as  by  working  forward  from  a  thorough 
knowledge  of  the  Modes  of  the  Chant,  and  applying  rules  of 
counterpoint  in  diatonic  progression.  Dr.  Proske  wrote  years 
ago  with  great  truth  : *  "  The  universal  and  indispensable  basis 
for  understanding  and  interpreting  the  contrapuntal  scores 
of  the  old  masters  of  Church  music  is  the  Gregorian  Chant." 
The  Holy  Father  recognizes  the  difficulties  which  the  restora- 
tion of  the  polyphonic  school  involves,  and  he  makes  no  re- 
quirements which  need  cause  uneasiness  among  us.  In  the 
Motu  proprio,  he  orders  that  it  "  must  therefore  be  restored 
largely  in  ecclesiastical  functions,  especially  in  the  more  im- 
portant basilicas,  in  cathedrals,  and  in  the  churches  and  chapels 
of  seminaries  and  other  ecclesiastical  institutions  in  which 
the  necessary  means  are  usually  not  lacking."  To  sing  the 
music  of  Palestrina  and  the  other  contrapuntal  composers 
well  means  a  great  deal,  and  it  assumes  a  high  degree  of  pro- 
ficiency on  the  part  of  the  choir.  Let  us  temper  the  zeal  of 
our  aspirations  thereafter  with  prudence!  Until  our  choirs 
have  had  long  training  in  the  Chant,  until  they  have  recognized 
and  are  imbued  with  its  unworldly  inspiration,  let  them  be- 

1  Preface  to  Musica  Divina. 


IOO  MANUAL  OF  CHURCH  MUSIC. 

ware  of  striking  out  beyond  their  depth  into  the  sea  of 
mediaeval  chorus  composition.  When  they  are  well  able  so 
to  do,  let  them  neglect  nothing  in  the  way  of  nuance,  dynamics, 
and  careful  adjustment  of  voices,  which  may  reflect  the  tra- 
ditional method  of  their  production.  In  a  capella  singing,  it  is 
a  foundation  principle  that  every  possible  resource  which  care- 
ful expression  can  suggest,  should  be  brought  to  bear ;  and  this 
is  assumed  in  its  highest  sense,  as  a  prerequisite  for  the  ren- 
dition of  the  music  of  this  second  classification.  It  is  for- 
tunate that  we  are  directed  to  have  boys  for  the  acute  voices 
of  the  soprani  as  required  in  the  polyphonic  compositions. 
They  were  written  for  male  voices  strictly,  according  to  the 
then  existing  traditions  of  the  Church,  and  they  require  the 
purity  and  beauty  of  scientifically  cultivated  boy's  voices  in 
the  treble  parts.  The  almost  cloistral  spirituality  of  this  won- 
derful' music  would  be  completely  lost,  if  the  soprano  parts 
were  at  the  mercy  of  a  feminine  method  of  interpretation.  An 
attempt  to  render  the  impersonal  polyphonic  music  with  female 
voices  on  the  higher  parts  would  be  but  another  demonstra- 
tion of  the  evident  fact  that  women  have  absolutely  no  place 
in  the  liturgical  functions. 

The  return  to  the  classic  polyphonic  writings,  as  well  as  to 
the  Chant,  will  mark,  when  we  have  reached  the  stage  of 
spontaneous  accordance  to  its  genius,  the  quickening  of  re- 
ligious zeal  and  true  artistic  emotion.  In  these  two  sources, 
the  music  of  des  Pres,  Palestrina,  di  Lasso,  and  the  other  ar- 
tists of  the  period,  had  their  birth.  In  the  rarified  religious 
and  artistic  atmosphere  of  the  past  three  centuries  which  have 
followed  the  upheaval  of  religion  in  Europe,  and  which  have 
witnessed  orchestral  development  and  the  ascendancy  of  the 
opera,  its  existence  has  been  a  stifled  one,  and  its  revivification 
and  reestablishment  must  depend  upon  a  revival  of  the  primary 


THE  CLASSIC  POLYPHONY.  1Q1 

conditions  which  caused  it  to  arise.  The  consecrated  purpose 
"  to  restore  all  things  in  Christ,"  which  is  the  dominating 
standard  of  the  reign  of  Pope  Pius,  is  an  earnest  that  the  re- 
newing stimulus  which  may  be  confidently  expected  in  all  that 
pertains  to  religion,  will  not  be  lacking  in  the  restoration  of 
the  sublime  worship  music  of  this  exalted  school. 


CHAPTER  XVI. 

Modern  Music. 

THE  first  questions  in  relation  to  this  phase  of  our  subject 
which  will  probably  suggest  themselves  to  the  majority  of 
those  who  are  actively  engaged  in  Church  music  are  as  follows : 
(i)  According  to  what  canons  and  criteria  of  selection  may 
given  compositions  in  modern  style  be  adjudged  admissible  or 
inadmissible  under  the  Motu  proprio?  (2)  Does  the  new 
legislation  imply  an  absolute  farewell  to  our  beloved  Beethoven, 
Haydn,  Mozart,  and  even  Gounod,  whose  religious  mysticism 
of  composition  has  caused  him  to  be  regarded  among  us  as 
the  exponent  of  an  especially  superior  and  religious  style? 

First  of  all,  we  must  understand  that  modern  music  as  such, 
and  apart  from  the  question  of  its  adaptability  to  liturgical  use, 
is  not  disparaged  in  the  least.  The  Gregorian  Chant,  the 
Palestrina  polyphony,  and  the  modern  orchestral  style  are  co- 
equal amplifications  of  true  musical  art,  each  suited  to  its  par- 
ticular sphere.  Such  composers  as  those  above  named  are 
most  certainly  among  the  mighty  and  venerable  masters  of 
the  artistic,  imperial  school  of  music  which  the  world  is  ac- 
customed to  in  this  our  day  and  generation.  Their  composi- 
tions for  the  Church  are  wondrously  beautiful  from  a  musi- 
cal and  generally  from  a  religious  standpoint.  Their  avail- 
ability under  the  liturgical  rules  is  quite  a  different  matter, 
however,  and  there  is  no  question  but  that  a  justification  of 
their  use  under  the  present  authoritative  amendments — except 

(102) 


MODERN  MUSIC.  10$ 

in  rare  cases  where  gravity  and  consistency  of  style  predom- 
inate^— cannot  be  properly  maintained.  But,  however  out  of 
balance  with  liturgical  requirements  they  may  be,  their  in- 
herent beauty  and  artistic  merit  is  not  to  be  impugned.  We 
Catholics  need  offer  no  apology  for  the  profound  and  solemn 
emotions  they  have  awakened  in  us  in  the  past,  nor  for  the 
sentiment  which,  by  reason  of  long  and  pleasant  association 
with  them,  moves  us  to  defend  them  from  the  contumely  of 
those  who  would  presume  to  challenge  their  musical  excellence. 
The  Motu  proprio  enunciates  certain  principles  which  must 
be  borne  in  mind  in  our  deliberations  upon  this  phase  of  the 
subject.  These  principles  propound  a  process  of  exclusion  by 
which  we  are  comparatively  safe  in  indexing  given  composi- 
tions on  an  inhibited  list.  But  the  larger  question,  in  which 
the  very  psychology  of  music  is  involved,  and  by  which  we  can 
certainly  say  that  such  and  such  a  composition  is  undoubtedly 
admissible,  is  left  comparatively  untouched.  There  are  so 
many  elementary  principles  pertaining  to  the  very  soul  and 
mind  of  music,  and  such  a  complex  maze  of  more  or  less  un- 
systematized rules  pertaining  to  the  construction,  classification, 
and  interpretation  of  the  elusive  properties  of  sound,  that  care- 
ful study  will  be  required  for  years  to  come,  and  discussion 
— in  which  the  consensus  of  conclusion  upon  the  subject  shall 
be  thoroughly  evident — must  have  free  play  before  there  can 
be  any  rational  understanding  of  the  essence,  much  less  the 
phenomena  of  the  subject.  It  is  only  in  a  very  general  way, 
then,  that  principles  can  be  deduced  which  can  legitimately 
and  beyond  any  question  determine  by  what  process  of  in- 
clusion modern  music  may  be  recognized  as  generally  suited 
to  the  liturgical  rite.  It  is  easy  enough  to  say  that  music 
which  does  not  possess  characteristics  forbidden  by  the 
Motu  proprio  is  of  course  permitted.     That  much  is  a  truism. 


104  MANUAL  OF  CHURCH  MUSIC. 

But  let  any  half-dozen  men  who  are  well  versed  in  music  make 
the  attempt  at  this  budding  stage  of  the  music  reform  to  agree 
upon  a  practical  standard  by  which  a  favorable  decision  shall 
be  applied  to  specified  compositions  which,  for  any  cause,  may 
be  considered  as  open  to  question;  they  would  soon  find,  par- 
ticularly if  they  be  of  diverse  nationalities,  that  guess-work 
will  be  very  much  in  evidence,  and  that  any  such  thing  as  a 
consistent  unanimity  on  the  subject  is  impossible.  There- 
fore, beyond  making  certain  suggestions  which  may  serve  as 
starting-points  for  the  further  excogitation  of  those  interested, 
we  cannot  at  this  time  go,  and  we  therefore  will  not  attempt  to 
deal  with  absoluteness  upon  such  a  very  problematical  point. 
Let  us  consider  some  suggestions  as  to  how,  according 
to  the  standards  of  the  Motu  proprio,  we  shall  apply  practical 
tests  to  the  music  customarily  sung  in  our  churches.  After 
noting  the  recognition  and  favor  which  the  Church  has  al- 
ways bestowed  upon  the  progress  of  the  arts,  so  far  as  they 
have  remained  consistent  with  the  liturgical  laws,  the  follow- 
ing maxim  is  laid  down :  "  Modern  music  is  also  admitted  in 
the  Church,  since  it,  too,  furnishes  compositions  of  such  ex- 
cellence, sobriety,  and  gravity,  that  they  are  in  no  way  un- 
worthy of  the  liturgical  functions."  But  this  general  admis- 
sion of  modern  music  is  at  once  qualified  as  follows :  "  Still, 
since  modern  music  has  risen  mainly  to  serve  profane  uses, 
greater  care  must  be  taken  with  regard  to  it,  in  order  that 
the  musical  compositions  of  modern  style  which  are  admitted 
in  the  Church  may  contain  nothing  profane,  be  free  from  re- 
miniscences of  motifs  adopted  in  the  theatres,  and  be  not  fash- 
ioned even  in  their  external  forms  after  the  manner  of  pro- 
fane pieces."  Then,  by  further  process  of  expurgation,  "  the 
theatrical  style,  which  was  in  the  greatest  vogue,  especially  in 
Italy,  during  the  last  century,"  is  pronounced  absolutely  in- 


MODERN  MUSIC.  IQ5 

admissible.  There  is  no  gainsaying  the  fact  that  by  reason  of 
these  strict  differentiations  and  correspondent  rulings  as  to  the 
length  and  structure  of  Masses,  the  treatment  of  the  liturgical 
text,  the  insertion  of  solos  and  the  use  of  orchestral  instru- 
ments, the  accustomed  repertoire  of  the  average  American 
choir  is  completely  overthrown,  and  the  names  of  musical  writ- 
ers whose  compositions  have  heretofore  been  familiar  to 
Catholic  congregations  are  very  largely  debarred.  To  be 
sure,  it  would  be  a  false  basis  of  judgment  which  would  ascribe 
to  the  Masses  of  such  giants  in  musical  lore  as  those  named 
above  and  others  who  rank  in  the  galaxy  with  them,  char- 
acteristics indicative  of  the  profane  and  theatrical  style  which 
is  forbidden  by  authority.  They  assuredly  are  neither  flip- 
pant nor  trivial  in  a  single  phrase.  Wherein  they  assume  a 
character  which  may  be  specified  as  dramatic  or  realistic,  they 
are  never  so  to  the  extent  of  profanity  or  staginess.  But  the 
overpowering  magnitude  of  the  musical  treatment  which  in 
them  is  ordinarily  applied  to  the  words  of  the  liturgy,  the 
inordinate  length  of  time  required  for  the  rendering  of  much 
of  such  composition  by  which  the  Holy  Sacrifice  is  delayed, 
the  writing  of  single  musical  numbers  in  separate  movements, 
the  omission  (as  in  the  case  in  a  number  of  Haydn's  Masses) 
of  words  of  the  text,  and  the  necessity  of  an  orchestra  to  their 
proper  production,  constitute  final  obstacles  to  their  admis- 
sibility. Furthermore,  it  is  hardly  to  be  questioned  that  the 
general  elaborateness,  embellishment,  and  frequently  garish- 
ness  of  their  style  are  of  a  character  unsuited  to  the  solemn- 
ity of  the  Mass,  and  certainly,  when  gauged  by  the  test  of 
conformability  or  likeness  to  the  "  supreme  model  "  of  the 
Chant,  they  are  generally  ruled  out.  The  Motu  proprio  refers 
to  the  matter  thus  :  "  It  must  be  considered  to  be  a  very  grave 
abuse  when  the  liturgy  in  ecclesiastical  functions  is  made  to 


106  MANUAL  OF  CHURCH  MUSIC. 

appear  secondary  to,  and  in  a  manner  at  the  service  of  the 
music,  for  the  music  is  merely  a  part  of  the  liturgy  and  its 
humble  handmaid." 

By  applying  ordinary  principles  of  sense  and  discretion  to  ex- 
amination of  each  of  the  hitherto  familiar  Masses,  the  choir- 
master will  readily  find  that  most  of  them  come  under  the 
ban.  For  instance,  he  will  find  upon  examining  Haydn's 
Third  Mass,  that  every  number  in  it  conflicts  glaringly  with  the 
rules  which  have  been  established  as  a  guarantee  of  propriety. 
Exactly  the  same  results  will  be  found  on  reading  the  Second 
Mass  of  the  same  composer.  His  First  and  his  Sixteenth 
Mass  contain  some  exquisite  passages  which,  except  for  the 
impossibility  of  detachment  from  the  whole,  could  be  used 
under  the  present  rules;  but  the  places  in  the  context  of  such 
passages  renders  them  unavailable.  Others  of  Haydn's 
Masses,  Beethoven's  Mass  in  C ,  and  the  Masses  of  Mozart  are 
of  a  very  similar  character.  Even  the  immortal  St.  Cecilia 
Mass  of  Gounod  so  departs  from  liturgical  principles  that  the 
Benedictus  only  can  be  legitimately  used  at  Mass,  and  even 
then  we  should  be  sure  that  the  solo  motif  does  not  exceed  the 
limits  of  the  permitted  "  melodic  projection,"  and  that  the 
Mass  be  not  delayed.  The  safe  way  would  be  to  sing  the 
chorus  part  only.  Gounod's  Sacre  Cceur  Mass  contains  sec- 
tions which  can  be  used,  and  the  First  and  Second  Masses  des 
Orpheonistes,  the  Jeanne  d'Arc  and  Angeli  Custodes  Masses 
can  hardly  be  deemed  other  than  legitimate  under  the  Motu 
proprio.  His  Convent  Mass  in  C,  which  is  harmonized  in 
four  parts  and  supplemented  by  a  solid  and  good  Credo  by 
Stollwerck  is  perfectly  available  throughout,  if  the  choir  re- 
frains in  this  Mass,  as  in  others  by  Gounod,  from  re- 
peating the  intonations  of  the  celebrant.  When  it  is 
deemed   advisable   for   the   choir   of  boys  and   men  to  pre- 


MODERN  MUSIC.  jQy 

pare  a  harmonized  Mass  in  modern  style,  this  one  would 
be  a  good  one  to  start  with.  However  subdued  it  may 
seem  to  those  of  us  who  have  loved  his  Sacre  Cceur  and 
St.  Cecilia  Masses  in  their  entire  and  more  extended  scope,  it 
nevertheless  has  the  indefinable  Gounod  charm.  Surely  it  is 
a  satisfaction  to  feel  that  the  beloved  name  of  Charles  Gounod 
remains  even  thus  to  us  in  an  approved  status  as  a  Mass  com- 
poser. The  Masses  of  Cherubini,  von  Weber,  Schubert,  Hum- 
mel, etc.,  when  subjected  to  an  analysis  similar  to  that  sug- 
gested above,  will  be  found  generally  ruled  out,  though  there 
are  occasionally  found  selections  in  compositions  of  this  class, 
which  would  not  seem  to  merit  rejection. 

Works  of  the  writers  of  the  Italian  theatrical  school,  of 
whom  Rossini  may  be  considered  a  type,  are  of  course  entirely 
out  of  the  question. 

Beside  the  works  by  the  preeminent  masters  of  music  whom 
we  have  just  considered,  we  find  our  choir  libraries  overrun 
with  compositions  imitative  of,  but  vastly  inferior  to,  the 
school  of  music  represented  by  them.  The  names  of  writers 
of  florid  Masses  in  "  catchy  "  style,  and  of  "  Vespers  No.  I," 
or  "  Vespers  No.  II,"  made  up  of  one,  two,  or  three  Psalms 
di  concerto  (which  the  Motu  proprio  says  are  "  forever  ex- 
cluded and  prohibited"),  and  a  Magnificat  similarly  con- 
structed, will  suggest  themselves  at  once  to  the  initiated. 
There  should  be  no  further  trifling  with  music  of  this  class. 
It  has  but  too  frequently  given  a  bad  name  to  Catholic  Church 
music.  It  is  undoubtedly  a  fact  that  the  religious  works  of  the 
masters  of  the  modern  school  are  unable  always  to  obtain  a 
fair  judgment  from  the  litterateur  and  musical  chronicler,  be- 
cause of  their  association  in  the  programmes  of  our  choirs  with 
this  kind  of  drivel,  which  every  canon  of  educated  taste  should 
bar  from  further  hearing.     It  is  devoutly  to  be  hoped  that  this 


108  MANUAL  OF  CHURCH  MUSIC. 

last  sort  of  balderdash  which  has  appeared  in  such  plethora 
in  the  advertised  programmes  which,  to  our  shame,  have  been 
given  forth  to  the  public,  along  with  secular  musical,  sport- 
ing and  racing  news,  may  be  heard  no  more  in  the  Church. 

The  Masses  of  the  masters  of  the  modern  orchestral  school, 
while  forbidden  to  be  sung  in  church  to  any  appreciable  ex- 
tent, can  be  preserved  and  studied  as  Sacred  Oratorio  by 
choral  and  concert  societies. 

Let  us  endeavor  now  to  work  out  some  considerations  by 
which,  though  we  cannot,  as  heretofore  stated,  be  absolutely 
determinate  beyond  a  certain  point,  we  may  find  at  hand  avail- 
able music  composed  in  modern  times  in  place  of  that  which  is 
now  so  unquestionably  interdicted.  We  find,  among  the  high- 
est types,  the  great  writers  of  the  Csecilia  Society,  who  in- 
clude such  notable  names  as  Haberl,  Witt,  Hanisch,.  Stehle, 
Mitterer  and  Singenberger,  and  whose  excellent  musical  writ- 
ings have  become  so  justly  celebrated  and  widely  used.  With 
full  recognition  of  the  superior  accomplishments  of  this  school 
of  composition,  it  may  be  seriously  questioned  how  far  its  use 
may  be  expected  to  predominate  among  those  whose  natal 
origin  and  traditions  are  other  than  German.  This  by  no 
means  insinuates  that  the  characteristics  of  a  very  great  deal 
of  it  would  not  appeal  to  many  of  other  nationalities,  if  they 
could  once  be  induced  to  study  it  to  the  point  of  thoroughly 
understanding  it.  We  must  simply  recognize  and  frankly 
admit  the  invincible  racial  prejudices  which  arise  from  mutual 
non-comprehension.  Any  subject  concerning  the  artistic, 
upon  which  the  German,  the  Italian,  the  Britisher,  and  the 
Frenchman  agree,  has  not  yet  been  originated.  Broadly 
speaking,  music  which,  for  the  most  part  is  distinctively  Ger- 
man in  type,  is  no  more  suited  to  Italian,  French,  or  British 
taste  than  is  music  of  the  latter  schools  to  the  majority  of 


MODERN  MUSIC.  1Qg 

German  and  German-American  people.  This  point  is  so  ap- 
parent that  it  need  not  be  enlarged  upon.  To  so  wield  the 
temperaments  and  tastes  of  the  inhabitants  of  our  country,  who 
represent  "  all  nations  and  tribes  and  peoples  and  tongues," 
each  animated  by  racial  traditions  peculiarly  his  own,  that 
any  point  of  mutual  agreement  upon  a  musical  or  artistic 
question  can  be  reached,  is  a  task  indeed.  The  following  pas- 
sage from  the  Motu  proprio  can  well  be  pondered  in  connec- 
tion with  this  point.  "  While  every  nation  is  permitted  to 
admit  into  its  ecclesiastical  compositions  those  special  forms 
which  may  be  said  to  constitute  its  native  music,  still  these 
forms  must  be  subordinated  in  such  a  manner  to  the  general 
characteristics  of  sacred  music  that  nobody  of  any  nation  may 
receive  an  impression  other  than  good  on  hearing  them."  It 
certainly  is  unquestionable  that  the  productions  of  the  best 
Csecilian  composers  are  much  more  attractive  than  many  peo- 
ple of  other  traditions  seem  to  think,  although  it  is  a  glory 
wherein  the  Csecilia  Society  has  a  right  to  boast  that  its  ex- 
ponents have  always  sought  the  highest  ideals  of  Christian 
art,  and  not  attempting  ever  to  appeal  to  the  superficial  taste, 
have  worked  on  a  higher  plan  than  to  produce  merely  attrac- 
tive results.  The  claim  of  Csecilian  music  to  an  exalted  posi- 
tion among  recognized  art  forms  is  not  open  to  question,  and 
a  closer  acquaintance  with  it  on  the  part  of  those  who  may  be 
unfamiliar  with  it,  will  prove  to  them  the  worthiness  and 
nobility  of  its  style.  The  further  establishment  of  the 
Csecilia  Society  will  go  a  long  way  toward  the  realization  of 
the  ideals  set  forth  in  the  Motu  proprio. 

There  are  some  very  good  Masses  by  recent  English  com- 
posers which  may  be  obtained  through  Messrs.  Burns  &  Oates, 
28  Orchard  Street,  London,  W.,  and  pastors  will  find  it  very 
much  to  their  advantage  to  examine  some  of  them  with  a 


HO  MANUAL  OF  CHURCH  MUSIC. 

view  of  making  a  selection  from  them.  The  choirmaster  can 
subject  them  to  the  tests  laid  down  by  the  Holy  See,  and  in 
many  cases  he  will  find  no  grounds  for  rejection.  The  firm 
of  Messrs.  Cary  &  Co.,  Oxford  Circus  Avenue,  231  Oxford 
Street,  W.,  London,  is  issuing  music  which  conforms  to  the 
authoritative  requirements,  written  by  Mr.  R.  R.  Terry,  Or- 
ganist of  Westminster  Cathedral,  and  such  other  prominent 
English  composers  of  recent  times  as  Forrester,  Westlake, 
Storer  and  Mgr.  Crookall.  The  Liturgical  Music  Co.,  171 
Tremont  Street,  Boston,  Mass.,  is  publishing  music  which 
will  be  found  most  useful  to  well-trained  choirs  of  boys  and 
men  by  Casali,  Brosig,  Kretchmer,  Wilkens  and  other  musi- 
cians. Messrs.  Fischer  &  Brother  are  also  publishing  some 
good  Masses  by  both  American  and  foreign  composers,  and 
their  "  Catalogue  of  approved  Church  Music  "  with  additions 
made  from  time  to  time,  contains  much  correct  and  available 
composition.  Some  compositions  of  the  maestro  of  the  Papal 
Choir,  Don  Lorenzo  Perosi,  will  be  found  therein.  While  we 
prefer  not  to  draw  distinctions  between  the  musical  merits  of 
Catholic  composers  who  are  now  living  and  writing,  we  may  be 
permitted  to  suggest  that  it  is  but  reasonable  to  expect  that 
Perosi,  as  the  natural  and  most  able  exponent  of  the  Holy 
Father's  will  in  matters  pertaining  to  Church  music,  should 
therefore  interpret  it  in  his  musical  compositions  with  clear- 
ness.    His  writings,  therefore,  should  be  well  studied. 

In  endeavoring  to  make  a  selection  of  suitable  motets  in 
modern  style,  the  choirmaster  should  apply  principles  of  tex- 
tual and  musical  criticism  akin  to  those  suggested  for  his  selec- 
tion of  Masses.  Whenever  he  can  find  music  conformable  to 
the  present  legislation,  which  has  been  composed  by  the 
familiar  masters  who  are  now  ruled  almost  completely  out  of 
court,   such,   for   instance,   as   the  exquisite  settings   of  Ave 


MODERN  MUSIC.  T  x  j 

verum  Corpus  by  Mozart  and  Gounod,  let  him  use  it  by  all 
means.  Motets  are  allowed  after  the  Oifertorium  and  Bene- 
dictus  at  High  Mass,  if  there  is  time  to  insert  them  without 
delaying  the  action  of  the  Mass.  Motets  and  hymns  can  also 
be  sung  between  Vespers  and  Benediction,  or  before  the 
Tantum  ergo  at  Benediction,  and  in  these  last  cases,  which  are 
extra-liturgical,  they  may  be  sung  either  in  Latin  or  in  the 
vernacular. 

The  gist  of  sensible  conclusion,  so  far  as  the  use  of  modern 
music  in  the  Church  is  concerned,  is  that,  on  broad  lines,  it 
must  be  submitted  to  a  period  of  reconstruction ;  that  is  to  say, 
availing  ourselves  of  the  stores  we  already  possess,  eliminat- 
ing what  has  been  interdicted,  and  conforming  our  contem- 
poraneous composition  to  liturgical  rules, — the  modern  school, 
as  years  pass  and  experience  increases,  will  assume  a  recon- 
structed, cohesive,  and  definite  form.  We  have  many  Catholic 
composers  of  to-day  who  represent  advanced  learning  and 
wide  musical  culture,  and  whose  place  both  in  the  musical 
world  and  among  men  of  letters  is  recognized  by  all.  They 
all  know  how  they  must  write,  or  at  least  what  they  must 
avoid,  if  their  music  is  to  be  sung  in  Church.  With  such 
leaders  as  Perosi  in  Rome,  Bordes  and  Bellenot  in  Paris, 
Tozer  and  Terry  in  London,  with  the  Caecilia  Society  and  the 
Solesmes  School  of  Plain  Chant  spreading  and  flourishing,  and 
with  the  excellent  Catholic  composers  in  our  country,  who  are 
glad  to  lay  their  talent  at  the  feet  of  the  Holy  Father,  a  re- 
constructed school  of  modern  music  will  be  reared  which  shall 
be  the  pride  of  religion  and  another  exemplification  of  the 
Church's  patronage  of  the  fine  arts. 

It  must  not  be  forgotten,  however,  that  the  development  of 
modern  music  is  yet,  in  most  of  its  phases,  a  secondary  mat- 
ter  in    the    Church    music    restoration.      Our   attention   and 


112  MANUAL  OF  CHURCH  MUSIC. 

energy  must  be  claimed  primarily  by  the  Gregorian  Chant. 
When  attainments  of  proficiency  have  been  achieved  in  that 
paramount  regard,  the  time  will  be  ripe  for  developing  the 
resources  of  modern  musical  art. 


CHAPTER  XVII. 
Congregational  Singing. 

WHY  should  the  people  sing  ?"  asks  the  Rev.  Alfred  Young, 
Paulist,  in  the  preface  to  the  Catholic  Hymnal.  "  The 
reason  will  be  found,"  he  writes,  "  in  the  reply  which  must  be 
made  to  the  question:  Why  does  the  Church  direct  and 
oblige  the  faithful  to  be  assembled  congregationally  for  divine 
worship?  The  answer  is,  in  general,  that  they  should  pray 
together.  But  what  special  kind  of  prayer  can  they  and  should 
they  pray  together,  which  would  be  a  common  prayer  in  which 
all  ought  to  join?  Unquestionably  the  Prayer  of  Praise.  No 
matter  whether  it  be  Holy  Mass,  Vespers,  or  a  devotional 
meeting,  the  first  and  chief  purpose  of  a  religious  assembly  is 
the  expression,  both  by  voice  and  ceremonial,  of  Divine  Praise. 
Whatever  kind  of  prayer  the  people  may  make  in  church,  as 
individuals,  on  their  own  account,  and  as  called  forth  by  their 
own  peculiar  necessities  or  singular  spiritual  relation  with 
God,  one  thing  is  sure:  the  purpose  of  their  being  assembled 
together,  and  the  one  which  takes  precedence  of  all  other  pur- 
poses and  privileges,  is  that  they  unite  in  praising  God  with  a 
common  ceremonial  and  a  common  utterance.  The  praise  of 
all  the  people  offered  to  God  by  a  representative  body  of  the 
worshiping  Church,  gathered  together  in  the  name  and  by  the 
authority  of  Christ,  is  the  divine  idea  of  public  worship  in- 
tended to  be  realized  by  the  Catholic  Church;  and  therefore, 
if  the  people  do  not  unite  as  one  body  in  their  ceremonial  acts 

(113) 


H4 


MANUAL  OF  CHURCH  MUSIC. 


and  in  their  words  of  worship,  that  idea  is  frustrated  in  a 
greater  or  less  degree." 

Non-Catholics  have  appreciated  the  many  advantages  of 
common,  public  prayer,  and  in  their  rituals  of  worship,  con- 
gregational singing  holds  an  eminent  place.  In  great  cathedral 
churches,  and  in  small  country  meeting-houses,  alike,  the  art 
of  singing  in  one  voice  the  praises  of  the  most  High  has  been 
assiduously  developed.  It  has  come  to  be  so  prominent  a  part 
of  the  non-Catholic  services,  that  some  Catholics  look  upon 
it  as  a  distinctively  Protestant  form  of  worship.  Some  among 
us  have  forgotten  that  in  retaining  this  practice,  our  friends 
outside  the  fold  have  been  cherishing  and  preserving  an  old 
Catholic  tradition — a  rich  inheritance  which  has  come  down 
from  Apostolic  times,  but  which  through  our  continued  neglect 
and  disuse,  has  passed  from  our  hands. 

But  we  have  been  told  to  claim  it  again  as  our  own,  and  to 
summon  it  once  more  to  its  proper  place  at  our  services. 
"  Special  efforts  are  to  be  made,"  Pope  Pius  X  commands, 
"  to  restore  the  use  of  Gregorian  Chant  by  the  people,  so  that 
the  faithful  may  again  take  a  more  active  part  in  the  ecclesias- 
tical offices,  as  was  the  case  in  ancient  times."  x 

That  the  congregation  originally  participated  as  a  body  in 
the  public  services  by  chanting  Psalms,  Hymns,  and  Sacred 
Anthems,  requires  no  further  proof  than  a  glance  at  the  history 
of  the  ecclesiastical  ceremonies  and  music  of  the  first  centuries 
of  the  Christian  era.  "  The  earliest  testimony  that  can  be 
called  definite,"  says  Professor  Dickinson,  "  is  contained  in 
the  celebrated  letter  of  the  younger  Pliny  from  Bithynia  to  the 
Emperor  Trajan,  in  the  year  112,  in  which  the  Christians  are 
described  as  coming  together  before  daylight  and  singing 
*  hymns  alternately  (iiiviccm)  to  Christ.' ' 

1  Motu  proprio,  §  2.  no.  3. 


CONGREGA  TIONAL  SINGING.  I  z  5 

"  So  familiar  were  the  people,"  writes  Cardinal  Gibbons,1 
"  with  the  popular  melodies  of  the  church  that  according  to  St. 
Jerome,  *  they  who  went  into  the  fields  might  hear  the  plough- 
man at  his  alleluias,  the  mower  at  his  hymns,  and  the  vine- 
dresser singing  David's  Psalms.'  " 

St.  Augustine  tells  us  in  his  Confessions  (Bk.  IX),  that 
he  was  intensely  stirred  upon  hearing  the  people  sing  in 
Milan :  "  How  I  wept  in  hearing  Thy  hymns  and  canticles, 
when  the  sweet  sound  of  the  music  of  Thy  Church  filled  my 
soul !  As  the  music  flowed  into  my  ears,  the  tide  of  devotion 
swelled  high  within  me,  and  the  tears  ran  down,  and  there  was 
gladness  in  those  tears." 

Although  the  development  of  ritualism  was  necessarily  ac- 
companied by  a  lessening  of  the  people's  share  in  the  liturgical 
singing,  yet  until  a  late  date,  certain  portions  of  it  were 
reserved  to  them.  The  officiating  priests  sang;  the  choir  of 
levites  sang;  the  people  sang;  all  the  worshipers  gave  ex- 
pression in  sacred  song  to  the  religious  emotions  of  their  souls. 

And  Pope  Pius  X  wishes  the  Catholics  of  this  century  to 
sing;  he  wishes  them  to  join  the  choir  (the  chorus  in  choro) 
in  chanting  those  beautiful  hymns  and  prayers  in  which  the 
liturgy  of  the  Church  abounds.  In  the  Advent  season  when 
the  Church  prays  in  song  that  "  the  earth  may  bud  forth  the 
Saviour,  and  the  clouds  rain  down  the  Just  One,"  our  Holy 
Father  wants  all  the  people  to  join  in  the  prayer.  At 
all  seasons  and  feasts  of  the  ecclesiastical  year  he  desires 
the  faithful  to  meet  together  in  the  sympathy  and  devotion  of 
congregational  hymnody.  They  must  unite  in  the  Gloria  of 
Christmas,  the  Miserere  of  Lent,  the  Alleluias  of  Easter. 
They  must  no  longer  be  passive  spectators  at  a  religious  cere- 

1  Ambassador  of  Christ ',  p.  352. 


Il6  MANUAL  OF  CHURCH  MUSIC. 

mony,  or  auditors  at  a  sacred  concert;  they  must  participate 
personally  and  actively,  in  the  solemnities  of  public  worship. 

But  how  is  this  going  to  be  accomplished  ? 

While  it  might  be  Utopian  to  hope  just  at  present  for  a 
speedy  resuscitation  of  all  the  old  traditions  connected  with  it, 
yet  it  is  reasonable  enough  to  hope  that  congregational  sing- 
ing will  soon  attain  to  a  respectable  popularity  among  us.  For 
it  is  in  the  interests  of  the  people,  and  they  will  welcome  and 
earnestly  second  any  efforts  made  toward  introducing  and 
perfecting  it  in  their  parish  churches.  There  are  few  persons 
who  do  not  enjoy  singing  in  a  chorus,  and  there  are  fewer 
still  who  can  resist  the  inspiration  of  a  congregational  hymn, 
for  two  instincts — correlated  and  deepseated  in  human  nature 
— are  aroused  and  stimulated — the  religious  instinct,  and  the 
musical  instinct. 

Cardinal  Gibbons  thus  describes  the  congregational  music 
at  Cologne :  "  Several  years  ago,  on  a  Sunday  morning,  I 
entered  the  Cathedral  of  Cologne  during  a  low  Mass,  and 
took  a  seat  in  the  body  of  the  church.  The  vast  edifice  was 
filled  with  a  devout  congregation,  representing  every  station 
in  life.  I  observed  the  officer  and  the  private  soldier,  the 
well-dressed  gentleman  and  the  plainly  clad  laborer,  ladies  and 
domestics,  young  and  old,  priests  and  laymen,  mingled  to- 
gether, and  singing  in  the  vernacular,  the  popular  sacred  hymns 
of  the  fatherland.  They  seemed  so  absorbed  in  their  devotional 
chant,  as  to  be  utterly  oblivious  of  everything  around  them. 
I  said  to  myself :  what  a  noble  profession  of  faith  is  this !" 

What  has  been  accomplished  in  the  Cologne  Cathedral,  and 
in  thousands  of  other  churches  abroad,  can  easily  be  accom- 
plished right  here  in  our  own  churches,  if  the  priests  will  only 
manifest  sufficient  enthusiasm,  and  go  about  inaugurating  this 
exercise  of  devotion  in  the  right  way. 


CON  GREG  A  TIONAL  SINGING.  1 1 7 

Here  are  some  details  which  should  be  observed  in  the 
process  of  introducing  congregational  singing : 

(1)  Announce  well,  several  wTeeks  before  the  day  upon 
which  you  have  decided  to  begin,  that  this  traditional  practice 
is  soon  to  be  restored  in  your  church.  Tell  the  people  what 
it  means,  and  what  the  Church  thinks  about  it.  Get  them 
keenly  interested  before  you  make  any  attempt  at  introducing  it. 

(2)  Get  a  leader  with  a  strong  voice  and  a  good  ear;  he 
need  not  necessarily  be  a  professional  musician.  Place  him 
in  a  prominent  position  in  the  church,  where  he  can  be  seen  and 
heard  distinctly  by  everybody. 

The  organist  should  not  attempt  to  teach  the  congregation 
alone. 

The  leader  should  sing  a  new  hymn  line  by  line,  phrase 
by  phrase,  and  the  congregation  should  repeat  each  line  and 
phrase,  until  the  whole  piece  is  mastered. 

(3)  Don't  attempt  music  that  is  difficult,  or  lacking  in 
melody.     The  people  will  not  warm  to  it. 

(4)  Have  a  sufficient  number  of  hymn-cards  for  the  whole 
congregation.  People  will  not  keep  up  interest  if  two  or 
three  have  to  read  from  one  card. 

(5)  The  organist  should  play  the  hymns  low  enough  to 
encourage  the  basses  and  altos  of  the  congregation  to  sing. 
The  men  will  soon  cease  to  sing  if  they  are  obliged  to  strain 
for  high  notes,  well  out  of  their  range. 

(6)  From  the  beginning,  avoid  dragging.  This  is  a  com- 
mon fault  in  congregational  singing  and  is  destructive  of  the 
"  swing "  and  buoyancy  which  are  the  life  of  a  congrega- 
tional hymn. 

(7)  Encourage  the  people,  and  urge  them  to  greater  efforts. 
Particularly  urge  the  men  to  sing;  they  are  inclined  to  be 
timid  at  first. 


j  1 8  MANUAL  OF  CHURCH  MUSIC. 

(8)  Be  active  in  increasing  the  repertoire. 

(9)  Hold  a  few  private  rehearsals  in  the  choir-hall,  for  a 
selected  number  of  the  parishioners,  and  during  a  service  have 
these  persons  well  distributed  through  the  church. 

As  to  the  extent  to  which  this  congregational  singing  may 
be  carried,  it  should  be  said  that  the  more  the  people  unite  in 
the  Chants  of  the  choir,  the  nearer  shall  we  approach  the 
ideal  pointed  out  in  the  Motu  proprio,  i.  e.,  the  customs  of  the 
early  Church  in  this  respect. 

It  is  suggested  that  the  Benediction  service  be  reserved  to 
the  congregation,  and  such  parts  of  other  services  as  might 
easily  be  learned;  e.  g.,  the  Responses  at  High  Mass  and 
Vespers ;  the  Processional  and  Recessional  Hymns ;  the  Litanies 
of  the  Saints,  the  Holy  Name,  and  Loretto;  the  Magnificat 
at  Vespers;  etc. 


CHAPTER  XVIII. 
Modern  Kymnody. 

THE  science  of  hymnology  has  held  high  rank  in  the  Catho- 
lic Church  since  the  days  of  the  Apostles  and  we  accordingly 
find  saints  and  doctors  of  all  ages  applying  themselves  to  the 
musical  versification  of  the  themes  of  our  holy  religion.  The 
Latin  hymnody  of  the  Divine  Office  as  contained  in  the  Roman 
Breviary  of  to-day  constitutes  a  syllabus  of  classical  utterance 
worthy  of  immortal  pens  and  angelic  tongues.  The  shapeli- 
ness of  its  sequence  is  evident  in  every  phrase,  and  woven  to- 
gether into  the  fabric  of  its  poetry  are  the  essential  fibre  of  ac- 
curate theological  expression  and  the  luxuriant  adornment  of 
unrestrained  praise.  Although  we  are  now  concerned  with 
the  extra-liturgical  singing  of  metrical  hymns  in  the  vernacu- 
lar tongue  rather  than  the  hymnody  of  the  Breviary,  we  pur- 
posely commence  this  chapter  with  reference  to  the  latter,  be- 
cause it  is  necessary  in  forming  a  judgment  in  matters  relat- 
ing to  modern  hymnody  to  remember  that  the  liturgical  hymn 
is  the  true  model  of  what  a  perfect  hymn  is  and  therefore  of 
what  a  perfect  hymn  should  be.  The  more  nearly  according 
to  this  excellent  type  the  modern  hymn  in  the  vulgar  tongue  is 
constructed,  the  nearer  to  perfection  it  may  be  said  to  be, — 
likewise,  the  greater  the  contrast  between  them,  the  less  per- 
fect may  the  modern  hymn  be  adjudged.  Vernacular  hymns 
of  the  best  class  are,  as  it  were,  the  next-of-kin  to  the  im- 
perishable classics  of  the  Liturgy,  and  it  is  to  be  hoped  that 

(up) 


120  MANUAL  OF  CHURCH  MUSIC. 

the  extension  of  male  choirs  will  further  the  custom,  so  praise- 
worthy and  so  completely  in  accordance  with  the  mind  of  the 
Church,  as  that  of  singing  such  vernacular  hymns  whenever 
their  use  may  be  legitimate  and  conducive  to  edification. 

An  adequate  consideration  of  the  points  justly  within  the 
scope  of  our  reflections  requires  a  specification  of  certain 
standards  by  which  productions  of  modern  hymnody  in  the 
best  poetical  form  and  most  finished  musical  dress  may  be 
found  available.  It  is  not  meant  by  this  that  the  hymn  should 
frustrate  one  of  its  principal  purposes  by  being  "  above  the 
heads  of  the  congregation  "  and  suited  only  to  the  ability  of 
a  skilled  choir,  but  that  the  hymn  used  in  the  public  worship 
of  God  should  not  exhibit  marks  of  carelessness,  much  less 
illiteracy  in  poetry,  nor  betray  the  tyro  in  music.  The  writ- 
ers of  deservedly  famous  Catholic  hymns  in  the  vulgar  tongue 
have  always  aimed  at  the  highest  possible  artistic  perfection. 
Not  less  than  by  a  traceable  likeness  to  the  hymn  of  the  Liturgy 
may  the  excellence  of  a  modern  hymn  be  also  gauged  by  the 
perfection  of  its  poetry  and  the  corresponding  worthiness  of  its 
music.  Where  there  is  found  united  in  a  given  hymn  these 
three  guarantees  of  superior  quality,  the  test  of  its  merit  is 
final, — if  they,  or  any  one  of  them,  are  lacking,  it  is  devoid 
of  worth. 

How  far  are  these  criteria  found  to  be  satisfactorily  vindi- 
cated in  hymns  written  by  composers  of  to-day?  How  many 
of  our  living  hymnists  have  conscientiously  laid  down  for 
themselves  true  models  of  propriety  in  this  regard?  Is  it  not 
a  fact  that  in  the  common  practice  of  many  of  our  churches, 
the  choice  hymns  by  true  poets  and  true  musicians,  which  so 
plenteously  enrich  the  literature  of  the  Catholic  Church,  re- 
main unnoticed  in  the  hymn-books,  while  we  have  served  up 
to  us  rhymes  which  have  nothing  but  the  piety  of  their  ori- 


MODERN  HYMNODY.  I2i 

ginators  to  recommend  them,  set  to  tunes  which  are  remin- 
iscent of  ballad,  school  song,  and  anything  and  everything 
but  a  true  church  style?  Had  we  not  an  exuberance  of  sur- 
passingly superior  hymnody  within  the  pages  of  our  many 
hymnals,  these  censures  of  what  is  doubtless  intended  as  an 
offering  to  religion  would  never  be  written,  but  the  habitual 
setting  aside  of  such  exquisite  hymns  as  are  mentioned  toward 
the  close  of  this  chapter  and  hundreds  of  others  like  them,  in 
favor  of  much  of  the  kind  of  thing  which  we  are  obliged  to 
suffer  in  League  and  Sodality  meetings,  is  a  miscarriage  of 
practice  which  can  not  be  too  severely  characterized. 

It  is  essential  that  we  should  estimate  truly,  first  the  exact 
relation  of  hymnody  to  the  subjects  included  in  the  musical 
regeneration  with  which  Pope  Pius  X  has  awakened  the 
world,  and  secondly,  to  what  extent  our  customary  prac- 
tice in  this  regard  must  be  accordingly  submitted  to  remedy. 
To  that  end,  our  first  practical  duty  is  to  determine  where 
we  have  hitherto  stood  in  this  regard,  and  we  are  thus 
forced  to  the  admission  that  notwithstanding  the  copious 
hymnology  of  countless  able  writers  ready  at  our  hands,  we 
have  too  generally  preferred  the  husks  of  inferior  verse  and 
melody.  So  strong  are  our  feelings  upon  this  subject,  that 
even  more  important  than  the  speedy  return  to  proper  styles  of 
hymnody  in  universal  use,  do  we  regard  the  necessity  of  ex- 
purgating from  any  use  whatever  such  nourishers  of  bad  taste 
and  distractions  from  worship  as  many  hymns  which  are  con- 
stantly heard  among  us.  It  is  far  better  that  a  hymn  should 
never  be  sung  than  that  we  should  be  obliged  to  endure  the 
blatancy  of  "  Form  your  ranks,  O  all  ye  Leaguers  of  the 
Heart  Divine,"  or  the  inanities  of  "  Mother,  tell  me,  what 
have  I  to  do?"  or  the  extravagances  of  "Thou  for  whom 
I've  long  been  sighing."     A  thousand  pities   it  is  that  this 


122  MANUAL  OF  CHURCH  MUSIC. 

sort  of  effusions  hold  sway  and  crowd  out  hymns  of  able 
composers  which  would  bring  joy  to  the  saints. 

To  be  sure,  this  state  of  affairs  is  very  easily  to  be  accounted 
for.  The  idea  to  which  the  rendering  of  true  Church  music 
has  been  largely  subverted  in  recent  times  has  been  the  dis- 
play of  this  one  and  that  one  in  the  performance  of  an  ir- 
relevant and  overbalanced  musical  accompaniment  to  the  Mass. 
Few  of  our  more  noted  and  active  Church  musicians  in 
America  seem  to  have  had  it  in  them  to  apply  the  sublime  prin- 
ciples of  art  to  the  compositions  of  hymn  tunes  in  classic 
metres,  as  men  like  the  composer  of  the  incomparable  music 
to  the  Dream  of  Gerontius  and  the  Apostles  and  others  of  his 
splendid  ilk,  are  doing  to-day,  for  many  of  the  most  renowned 
composers  abroad  do  not  count  the  composition  of  hymn 
melodies  beneath  their  genius.  But  even  had  the  promptings 
of  our  best  American  composers'  artistic  natures  brought  forth 
any  accomplishment  worth  speaking  of  in  this  line,  their  satis- 
faction at  thus  serving  art  for  art's  sake  would  have  been  their 
sole  encouragement.  The  regime  of  the  mixed  choir  of  male 
and  female  voices  which  is  now  declared  illegal,  included  no 
provision  for  the  singing  of  the  modern  hymns  of  the  Church 
to  any  noticeable  extent.  The  products  of  the  composer's 
genius  in  this  line  would  have  had  but  little  chance  of  a  gen- 
eral hearing  outside  of  gatherings  of  the  faithful  in  devo- 
tional societies  and  confraternities  and  the  anomalous  "  Low 
Mass  with  music  "  which  obtains  in  some  places.  They  would 
have  remained  unknown  to  the  "  audiences  "  of  quasi-Catho- 
lic, Protestant,  and  Hebrew  floaters  who  have  filled  some  of 
our  city  churches  at  Vespers  on  Sundays,  and  who,  much  as 
we  may  dislike  to  confess  it,  have  by  their  patronage  and  ap- 
plause dictated  the  standards  by  which  many  of  our  com- 
posers have  seen  fit  to  compose.     In  lieu,  therefore,  of  the 


MODERN  HYMNODY. 


123 


more  able  writers  who  have  spent  their  energies  in  such 
styles  of  composition  as  have  elicited  the  greater  encourage- 
ment, others  of  lesser  ability  and  more  cramped  scope,  whose 
resources  either  as  poets  or  composers  would  soon  have  been 
drained  dry  upon  their  essaying  more  elaborate  attempts,  have 
turned  their  attention  toward  the  writing  of  hymns  and  tunes. 
Every  community  in  the  country  has  its  poet,  or  more  prob- 
ably, its  poetess,  and  between  the  rhymesters  and  the  setters 
of  rhymes  to  airs  in  lackadaisical  six-eight  tempo  and  to  other 
abnormalities  of  composition,  we  need  not  wonder  that  so 
many  hymnals  are  filled  with  very  poor  stuff. 

Another  class  of  modern  hymns,  more  sympathetically  to  be 
condoned  wherein  it  exhibits  shortcomings,  consists  of  many 
which  have  been  written  in  convents  and  schools  for  young 
people,  and  which,  having  met  with  more  or  less  success  in  a 
somewhat  contracted  sphere,  have  unwisely  been  considered 
suited  for  a  more  public  purpose  and  published  for  general  use. 
In  many  well-known  hymns  of  this  class,  there  is  either  a  juven- 
ility or  femininity  of  ring,  a  far-fetchedness  of  metaphor,  an 
elementariness  which  amounts  to  a  crudity  of  rhyme,  a  scanti- 
ness of  harmonic  treatment,  a  simplified  one-note  or  other- 
wise rudimentary  bass,  an  eccentricity  of  tempo,  or  a  tendency 
to  treat  the  entire  subject  after  the  manner  of  a  song  rather 
than  a  hymn,  which  produce  most  unsatisfactory  results. 

The  remedy  for  this  wrong  condition  of  affairs  lies  with 
the  pastors  of  churches.  They  had  far  better  assume  the  re- 
sponsibility of  selecting  the  hymns  to  be  sung  than  to  leave 
their  selection  to  the  judgment  of  the  average  choirmaster,  for 
frequently  the  subject  of  hymnody  has  never  aroused  either  his 
attention  or  interest.  In  many  churches,  there  are  assistant 
organists  who  play  the  organ  for  a  junior  choir  at  Sunday- 
school  and  Sodality  meetings,  whose  principal  repertoire  con- 


124  MANUAL  OF  CHURCH  MUSIC. 

sists  of  hymns.  Generally,  such  an  assistant  organist  should 
work  under  the  oversight  of  the  pastor  or  one  of  his  assis- 
tants or  the  choirmaster.  The  natural  desire  to  accomplish 
something  out  of  the  ordinary  is  apt  to  tempt  the  junior  choir 
and  organist  beyond  the  limits  which  safeguard  the  integrity 
of  a  good  hymn,  and  into  the  territory  of  the  bizarre  and 
worthless. 

We  have  often  heard  and  expressed  comments  upon  the 
great  contrast  between  the  riches  of  hymnody  which  we  pos- 
sess and  the  shabby  specimens  which  we  so  commonly  hear,  and 
although  it  is  not  an  agreeable  part  of  our  duty  to  dwell 
upon  what  is  so  reprehensible  in  our  ordinary  practice,  it  is  a 
very  necessary  one,  for  we  would  be  writing  at  cross-purposes 
upon  this  subject  if  we  failed  to  make  it  clear  that  we  exclude 
from  our  definition  of  hymnody  much  that  is  ordinarily  so 
classified,  and  include  only  such  composition  as  conforms  to  the 
three  tests  hereinbefore  mentioned. 

Although  there  is  much  cause  for  criticism  in  the  neglect  to 
which  true  hymnody  has  been  subjected  in  favor  of  the  in- 
ferior substitute,  there  certainly  has  been  improvement  in  re- 
cent years  along  proper  lines.  The  late  Rev.  Alfred  Young, 
C.  S.  P.,  of  the  Paulist  Church,  New  York,  and  the  Rev.  J.  B. 
Young,  S.  J.,  now  and  for  years  past  at  the  Jesuit  Church  of 
St.  Francis  Xavier  in  the  same  city,  have  been  the  two  promi- 
nent deliverers  of  Catholic  hymnody  in  this  country  from 
utter  unworthiness.  They  have  promulgated  instruction  rep- 
resentative of  the  best  thought  and  highest  ideals,  and  where- 
ever  their  influence  has  reached,  they  have  established  a  con- 
ception of  the  subject  which  is  unspeakably  superior  to  that 
which  had  generally  prevailed.  There  is  now  a  growing 
familiarity  among  us  with  the  beautiful  Catholic  hymns  which 
are  so  dearly  beloved  and  cherished  in  England,  and  to  the 


MODERN  HYMNODY.  12$ 

science  of  writing  which,  men  of  the  highest  literary  and 
musical  attainments  have  applied  their  willing  labors.  The 
scholarship  in  this  direction  which  has  produced  such  a  col- 
lection as  Catholic  Hymns,  by  A.  Edmonds  Tozer,  Mus.  Doc, 
is  of  the  highest  grade.  Dr.  Tozer  is  now  preparing  a  hymnal 
which  will  soon  be  published  in  this  country  by  the  Fischers. 

The  custom  obtains  in  some  places  of  singing  hymns  by 
Protestant  writers  at  devotional  services  and  after  funeral  rites. 
Such  a  custom  cannot  be  defended  on  any  ground.  "  Nearer, 
my  God,  to  Thee,"  "  Jesus,  Lover  of  my  soul,"  "  Rock  of 
Ages,"  "Abide  with  me,"  and  others  of  the  kind,  however  they 
may  be  admired  as  religious  hymns  and  poems,  have  no  legiti- 
mate place  in  Catholic  worship,  for  evident  reasons.  Even 
the  immortal  "  Lead,  kindly  light,"  which  is  so  universally 
loved,  can  not  be  classified  as  a  Catholic  hymn,  as  it  was  written 
by  Dr.  Newman  during  the  days  of  his  Protestant  ministry, 
and  we  have  his  own  authority  for  the  statement  that  the 
sentiments  therein  had  no  reference  whatever  to  the  inesti- 
mable grace  of  conversion  to  the  Faith  which  was  granted  to 
him  many  years  later.  This  being  the  case,  his  beautiful 
hymn  is  a  Protestant  hymn,  pure  and  simple,  and  we  would 
do  wrong  to  make  an  exception  of  it  for  the  sake  of  sentiment. 

The  entrance  of  the  procession  of  boys  and  men  from  the 
choir  sacristy  to  their  places  in  the  chancel  for  Solemn  Mass 
and  Divine  Office,  and  their  retirement  at  the  close  of  the 
functions,  will  afford  most  fitting  opportunities  for  the  sing- 
ing of  some  of  our  best  Catholic  hymns.  Most  beautiful  ef- 
fects of  shading,  color  and  phrasing  can  be  secured  in  them. 
The  gradual  approach  of  the  swelling  voices  as  they  draw 
near  and  enter  the  church,  and  the  slow  dying  of  their  voices 
to  a  distant  pianissimo  as  they  return  to  the  choir  sacristy, 
are  impressive  and  edifying.     The  preparation  of  the  minds 


126  MANUAL  OF  CHURCH  MUSIC. 

and  hearts  of  the  congregation  for  a  devout  hearing  of  Mass, 
which  can  be  realized  by  the  use  of  such  hymns  as  Cardinal 
Newman's  "  Praise  to  the  Holiest  in  the  height,"  Matthew 
Bridges'  "  Crown  Him  with  many  crowns,"  Robert  Camp- 
bell's "  Word  of  God  to  earth  descending,"  and  Father  Faber's 
"  My  God !  how  wonderful  Thou  art,"  when  thus  sung,  is  be- 
yond estimate.  The  inspiring  effect  of  Caswall's  "  When 
morning  gilds  the  skies,"  as  the  singers  advance  to  the  choir 
to  sing  High  Mass;  or  the  calm  and  devotional  effect  as,  at 
nightfall,  the  voices  which  have  been  lifted  in  the  praises  of 
the  Church  recede  in  the  distance,  impressively  singing  the 
traditional  "Ave  Maria!  Thou  Virgin  and  Mother!"  until 
far  away,  the  last  words,  "  Sinless  and  beautiful !  Star  of  the 
Sea!"  breathe  the  final  strains  of  the  day's  worship, — such 
effects  are  so  thrilling  and  quickening  to  cultured  and  religious 
impulses  as  to  amount  actually  to  means  of  grace. 

In  closing  our  reflections  upon  this  branch  of  our  subject 
and  at  the  same  time,  of  the  various  other  problems  which 
constitute  the  burden  of  this  Manual,  we  earnestly  express  the 
hope  that  our  suggestions  may  be  found  useful  to  those  who 
are  anxious  to  do  the  will  of  the  Church  in  regard  to  the 
music  and  ceremonies  of  her  worship.  We  could  know  no 
greater  satisfaction  than  to  feel  that  we  had  in  some  measure 
contributed  toward  an  effective  realization  in  this  country  of 
the  reforms  instituted  by  our  Holy  Father,  "  so  that,"  as  in  his 
admonitory  words,  "  the  authority  of  the  Church,  which 
herself  has  repeatedly  proposed  them,  and  now  inculcates  them, 
may  not  fall  into  contempt." 


APPENDICES. 


I28  APPENDIX. 

times  to  be  deplored  in  places  where  everything  else  is  deserv- 
ing of  the  highest  praise — the  beauty  and  sumptuousness  of 
the  temple,  the  splendor  and  the  accurate  performance  of  the 
ceremonies,  the  attendance  of  the  clergy,  the  gravity  and  piety 
of  the  officiating  ministers.  Such  is  the  abuse  affecting  sacred 
chant  and  music.  And  indeed,  whether  it  is  owing  to  the  very 
nature  of  this  art,  fluctuating  and  variable  as  it  is  in  itself,  or 
to  the  succeeding  changes  in  tastes  and  habits  with  the  course 
of  time,  or  to  the  fatal  influence  exercised  on  sacred  art  by 
profane  and  theatrical  art,  or  to  the  pleasure  that  music  directly 
produces,  and  that  is  not  always  easily  contained  within  the 
right  limits,  or  finally  to  the  many  prejudices  on  the  matter,  so 
lightly  introduced  and  so  tenaciously  maintained  even  among 
responsible  and  pious  persons,  the  fact  remains  that  there  is  a 
tendency  to  deviate  from  the  right  rule,  prescribed  by  the  end 
for  which  art  is  admitted  to  the  service  of  the  public  worship 
and  which  is  set  forth  very  clearly  in  the  ecclesiastical  canons, 
in  the  ordinances  of  the  General  and  Provincial  Councils,  in  the 
prescriptions  which  have  at  various  times  emanated  from  the 
Sacred  Roman  Congregations,  and  from  our  predecessors  the 
Sovereign  Pontiffs. 

It  is  gratifying  to  us  to  be  able  to  acknowledge  with  real 
satisfaction  the  great  good  that  has  been  effected  in  this  re- 
spect during  the  last  decade  in  this  our  fostering  city  of  Rome, 
and  in  many  churches  of  our  country,  but  in  a  more  especial 
way  among  some  nations  in  which  eminent  men,  full  of  zeal 
for  the  worship  of  God,  have,  with  the  approval  of  the  Holy 
See  and  under  the  direction  of  the  Bishops,  united  in  encour- 
aging societies  and  restored  sacred  music  to  the  fullest  honor 
in  all  their  churches  and  chapels.  Still  the  good  work  that  has 
been  done  is  very  far  indeed  from  being  common  to  all,  and 
when  we  consult  our  own  personal  experience  and  take  into 


SACRED  MUSIC. 


129 


account  the  great  number  of  complaints  that  have  reached  us 
during  the  short  time  that  has  elapsed  since  it  pleased  the  Lord 
to  elevate  our  humility  to  the  supreme  summit  of  the  Roman 
Pontificate,  we  consider  it  our  first  duty,  without  further  delay, 
to  raise  our  voice  at  once  in  reproof  and  condemnation  of  all 
that  is  seen  to  be  out  of  harmony  with  the  right  rule  above 
indicated,  in  the  functions  of  public  worship  and  in  the  per- 
formance of  the  ecclesiastical  offices.  Filled  as  we  are  with 
a  most  ardent  desire  to  see  the  true  Christian  spirit  flourish 
in  every  respect  and  be  preserved  by  all  the  faithful,  we  deem 
it  necessary  to  provide  before  aught  else  for  the  sanctity  and 
dignity  of  the  temple,  in  which  the  faithful  assemble  for  no 
other  object  than  that  of  acquiring  this  spirit  from  its  fore- 
most and  indispensable  fount,  which  is  the  active  participation 
in  the  most  holy  mysteries  and  in  the  public  and  solemn  prayer 
of  the  Church.  And  it  is  vain  to  hope  that  the  blessing  of 
heaven  will  descend  abundantly  upon  us,  when  our  homage 
to  the  Most  High,  instead  of  ascending  in  the  odor  of  sweet- 
ness, puts  into  the  hand  of  the  Lord  the  scourges  wherewith  of 
old  the  Divine  Redeemer  drove  the  unworthy  profaners  from 
the  Temple. 

Hence,  in  order  that  no  one  in  future  may  be  able  to  plead  in 
excuse  that  he  did  not  clearly  understand  his  duty,  and  in  order 
that  all  vagueness  may  be  eliminated  from  the  interpretation  of 
matters  which  have  already  been  commanded,  we  have  deemed 
it  expedient  to  point  out  briefly  the  principles  regulating  sacred 
music  in  the  functions  of  public  worship,  and  to  gather  to- 
gether in  a  general  survey  the  principal  prescriptions  of  the 
Church  against  the  more  common  abuses  in  this  subject.  We 
do  therefore  publish,  motu  proprio  and  with  certain  knowledge, 
our  present  Instruction,  to  which,  as  to  a  juridical  code  of 
sacred  music  {quasi  a  codice  giuridice  delta  musica  sacra),  we 


1 30  APPENDIX. 

will,  with  the  fulness  of  our  Apostolic  Authority,  that  the 
force  of  law  be  given,  and  we  do  by  our  present  handwriting 
impose  its  scrupulous  observance  on  all. 

INSTRUCTION  ON  SACRED  MUSIC. 

I. — General  Principles. 

i.  Sacred  Music,  being  a  complementary  part  of  the  solemn 
liturgy,  participates  in  the  general  scope  of  the  liturgy,  which 
is  the  glory  of  God  and  the  sanctification  and  edification  of 
the  faithful.  It  contributes  to  the  decorum  and  splendor  of 
the  ecclesiastical  ceremonies,  and  since  its  principal  office  is  to 
clothe  with  suitable  melody  the  liturgical  text  proposed  for  the 
understanding  of  the  faithful,  its  proper  aim  is  to  add  greater 
efficacy  to  the  text,  in  order  that  through  it  the  faithful  may 
be  the  more  easily  moved  to  devotion  and  better  disposed  for 
the  reception  of  the  fruits  of  grace  belonging  to  the  celebra- 
tion of  the  most  holy  mysteries. 

2.  Sacred  music  should  consequently  possess,  in  the  highest 
degree,  the  qualities  proper  to  the  liturgy,  and  precisely  sanctity 
and  goodness  of  form,  from  which  its  other  character  of  uni- 
versality spontaneously  springs. 

It  must  be  holy,  and  must,  therefore,  exclude  all  profanity 
not  only  in  itself,  but  in  the  manner  in  which  it  is  presented 
by  those  who  execute  it. 

It  must  be  true  art,  for  otherwise  it  will  be  impossible  for 
it  to  exercise  on  the  minds  of  those  who  listen  to  it  that  efficacy 
which  the  Church  aims  at  obtaining  in  admitting  into  her 
liturgy  the  art  of  musical  sounds. 

But  it  must,  at  the  same  time,  be  universal  in  the  sense  that, 
while  every  nation  is  permitted  to  admit  into  its  ecclesiastical 
compositions  those  special  forms  which  may  be  said  to  con- 


SACRED  MUSIC. 


131 


stitute  its  native  music,  still  these  forms  must  be  subordinated 
in  such  a  manner  to  the  general  characteristics  of  sacred  music 
that  nobody  of  any  nation  may  receive  an  impression  other 
than  good  on  hearing  them. 

II. — The  Different  Kinds  of  Sacred  Music. 

3.  These  qualities  are  to  be  found,  in  the  highest  degree,  in 
the  Gregorian  Chant,  which  is,  consequently,  the  chant  proper 
to  the  Roman  Church,  the  only  chant  she  has  inherited  from 
the  ancient  fathers,  which  she  has  jealously  guarded  for  cen- 
turies in  her  liturgical  codices,  which  she  prescribes  exclus- 
ively for  some  parts  of  the  liturgy,  and  which  the  most  recent 
studies  have  so  happily  restored  to  their  integrity  and  purity. 

On  these  grounds  the  Gregorian  Chant  has  always  been 
regarded  as  the  supreme  model  for  sacred  music,  so  that  it  is 
quite  proper  to  lay  down  the  following  rule :  the  more  closely  a 
composition  for  church  approaches  in  its  movement,  inspiration, 
and  savor  to  the  Gregorian  form,  the  more  sacred  and  litur- 
gical it  becomes;  and  the  more  out  of  harmony  it  is  with  that 
supreme  model,  the  less  worthy  is  it  of  the  temple. 

The  ancient  traditional  Gregorian  Chant  must,  therefore,  be 
largely  restored  to  the  function  of  public  worship,  and  every- 
body must  take  for  certain  that  an  ecclesiastical  function  loses 
nothing  of  its  solemnity  when  it  is  accompanied  by  no  other 
music  but  this. 

Special  efforts  are  to  be  made  to  restore  the  use  of  the  Gre- 
gorian Chant  by  the  people,  so  that  the  faithful  may  again  take 
a  more  active  part  in  ecclesiastical  offices,  as  was  the  case  in 
ancient  times. 

4.  The  above-mentioned  qualities  are  also  possessed  in  an 
excellent  degree  by  the  classic  polyphony,  especially  of  the 
Roman  School,  which  reached  its  greatest  perfection  in  the 


132 


APPENDIX. 


fifteenth  century,  owing  to  the  works  of  Pierluigi  da  Palestrina, 
and  continued  subsequently  to  produce  compositions  of  excel- 
lent quality  from  the  liturgical  and  musical  standpoint.  The 
classic  polyphony  agrees  admirably  with  Gregorian  Chant,  the 
supreme  model  of  all  sacred  music,  and  hence  it  has  been  found 
worthy  of  a  place  side  by  side  with  the  Gregorian  Chant  in 
the  more  solemn  functions  of  the  Church,  such  as  those  of  the 
Pontifical  Chapel.  This,  too,  must,  therefore,  be  restored 
largely  in  ecclesiastical  functions,  especially  in  the  more  im- 
portant basilicas,  in  cathedrals,  and  in  the  churches  and  chapels 
of  seminaries  and  other  ecclesiastical  institutions  in  which  the 
necessary  means  are  not  lacking. 

5.  The  Church  has  always  recognized  and  favored  the  pro- 
gress of  the  arts,  admitting  to  the  service  of  the  cult  everything 
good  and  beautiful  discovered  by  genius  in  the  course  of  ages 
— always,  however,  with  due  regard  to  the  liturgical  laws. 
Consequently  modern  music  is  also  admitted  in  the  Church, 
since  it,  too,  furnishes  compositions  of  such  excellence,  sobriety, 
and  gravity,  that  they  are  in  no  way  unworthy  of  the  litur- 
gical functions. 

Since,  however,  modern  music  has  risen  mainly  to  serve  pro- 
fane uses,  greater  care  must  be  taken  with  regard  to  it,  in 
order  that  the  musical  compositions  of  modern  style  which 
are  admitted  in  the  Church  may  contain  nothing  profane,  be 
free  from  reminiscences  of  motifs  adopted  in  the  theatres,  and 
be  not  fashioned  even  in  their  external  forms  after  the 
manner  of  profane  pieces. 

6.  Among  the  different  kinds  of  modern  music,  that  which 
appears  less  suitable  for  accompanying  the  functions  of  public 
worship  is  the  theatrical  style,  which  was  in  its  greatest  vogue, 
especially  in  Italy,  during  the  last  century.  This  of  its  very 
nature  is  diametrically  opposed  to  the  Gregorian  Chant  and  the 


SACRED  MUSIC.  1 33 

classic  polyphony,  and,  therefore,  to  the  most  important  law 
of  good  music.  Besides  the  intrinsic  structure,  the  rhythm, 
and  what  is  known  as  the  conventionalism  of  this  style,  adapt 
themselves  but  poorly  to  the  requirements  of  true  liturgical 
music. 

III. — The  Liturgical  Text. 

7.  The  language  proper  to  the  Roman  Church  is  Latin. 
Hence  it  is  forbidden  to  sing  anything  whatever  in  the  verna- 
cular in  solemn  liturgical  functions — much  more  to  sing  in 
the  vernacular  the  variable  or  common  parts  of  the  Mass  and 
Office. 

8.  As  the  texts  that  may  be  rendered  in  music,  and  the 
order  in  which  they  are  to  be  rendered,  are  determined  for 
every  liturgical  function,  it  is  not  lawful  to  confuse  this  order 
or  to  change  the  prescribed  texts  for  others  selected  at  will, 
or  to  omit  them  either  entirely  or  even  in  part,  except  when 
the  rubrics  allow  that  some  versicles  of  the  text  be  supplied 
with  the  organ,  while  these  versicles  are  simply  recited  in 
choir.  It  is  permissible,  however,  according  to  the  custom  of 
the  Roman  Church,  to  sing  a  motet  to  the  Blessed  Sacrament 
after  the  Benedictus  in  a  Solemn  Mass.  It  is  also  permitted, 
after  the  Offertory  prescribed  for  the  Mass  has  been  sung,  to 
execute  during  the  time  that  remains  a  brief  motet  to  words 
approved  by  the  Church. 

9.  The  liturgical  text  must  be  sung  as  it  is  in  the  books,  with- 
out alteration  or  inversion  of  the  words,  without  undue  re- 
petition, without  breaking  syllables,  and  always  in  a  manner 
intelligible  to  the  faithful  who  listen. 

IV. — External  Form  of  the  Sacred  Compositions. 

10.  The  different  parts  of  the  Mass  and  the  Office  must  re- 
tain, even  musically,  that  particular  concept  and  form  which 


134 


APPENDIX. 


ecclesiastical  tradition  has  assigned  to  them,  and  which  is  ad- 
mirably expressed  in  the  Gregorian  Chant.  Different,  there- 
fore, must  be  the  method  of  composing  an  Introit,  a  Gradual, 
an  antiphon,  a  psalm,  a  hymn,  a  Gloria  in  excelsis. 

II.  In  particular  the  following  rules  are  to  be  observed: 

(a)  The  Kyrie,  Gloria,  Credo,  etc.,  of  the  Mass  must  pre- 
serve the  unity  of  composition  proper  to  their  text.  It  is  not 
lawful,  therefore,  to  compose  them  in  separate  pieces,  in  such 
a  way  that  each  of  such  pieces  may  form  a  complete  composi- 
tion in  itself,  and  be  capable  of  being  detached  from  the  rest, 
and  substituted  by  another. 

(&)  In  the  Office  of  Vespers  it  should  be  the  rule  to  follow 
the  Caeremoniale  Episcoporum,  which  prescribes  the  Gregorian 
Chant  for  the  psalmody,  and  permits  figured  music  for  the 
versicles  of  the  Gloria  Patri  and  the  hymn. 

It  will,  nevertheless,  be  lawful  on  the  greater  feast  days  to 
alternate  the  Gregorian  Chant  of  the  choir  with  the  so-called 
falsibordoni,  or  with  verses  similarly  composed  in  a  proper 
manner. 

It  may  be  also  allowed  sometimes  to  render  the  single  psalms 
in  their  entirety  in  music,  provided  the  form  proper  to  psalm- 
ody be  preserved  in  such  compositions ;  that  is  to  say  provided 
the  singers  seem  to  be  psalmodizing  among  themselves,  either 
with  new  motifs,  or  with  those  taken  from  the  Gregorian 
Chant,  or  based  upon  it. 

The  psalms  known  as  di  concerto  are,  therefore,  forever 
excluded  and  prohibited. 

(c)  In  the  hymns  of  the  Church  the  traditional  form  of  the 
hymn  is  preserved.  It  is  not  lawful,  therefore,  to  compose, 
for  instance,  a  Tantnm  ergo  in  such  wise  that  the  first  strophe 
presents  a  romanza,  a  cavatina,  an  adagio,  and  the  Genitori 
an  allegro. 


SACRED  MUSIC.  1 35 

(d)  The  antiphons  of  the  Vespers  must  be,  as  a  rule,  ren- 
dered with  the  Gregorian  melody  proper  to  each.  Should 
they,  however,  in  some  special  case  be  sung  in  figured  music, 
they  must  never  have  either  the  form  of  a  concert  melody  or 
the  fulness  of  a  motet,  or  a  cantata, 

V. — The  Singers. 

12.  With  the  exception  of  the  melodies  proper  to  the  cele- 
brant at  the  altar  and  to  the  ministers,  which  must  be  always 
sung  only  in  Gregorian  Chant,  and  without  the  accompaniment 
of  the  organ,  all  the  rest  of  the  liturgical  chant  belongs  to  the 
choir  of  levites,  and,  therefore,  singers  in  church,  even  when 
they  are  laymen,  are  really  taking  the  place  of  the  ecclesias- 
tical choir.  Hence,  the  music  rendered  by  them  must,  at  least 
for  the  greater  part,  retain  the  character  of  choral  music. 

By  this  it  is  not  to  be  understood  that  solos  are  entirely 
excluded.  But  solo  singing  should  never  predominate  in  such 
a  way  as  to  have  the  greater  part  of  the  liturgical  chant  exe- 
cuted in  that  manner;  rather  should  it  have  the  character  of 
simple  suggestion,  or  a  melodic  projection  (spunto),  and  be 
strictly  bound  up  with  the  rest  of  the  choral  composition. 

13.  On  the  same  principle  it  follows  that  singers  in  church 
have  a  real  liturgical  office,  and  that  therefore  women,  as 
being  incapable  of  exercising  such  office,  cannot  be  admitted  to 
form  part  of  the  choir,  or  of  the  musical  chapel.  Whenever, 
then,  it  is  desired  to  employ  the  high  voices  of  sopranos  and 
contraltos,  these  parts  must  be  taken  by  boys,  according  to  the 
most  ancient  usage  of  the  Church. 

14.  Finally,  only  those  are  to  be  admitted  to  form  part  of 
the  musical  chapel  of  a  church  who  are  men  of  known  piety 
and  probity  of  life;  and  these  should,  by  their  modest  and  de- 
vout bearing  during  the  liturgical  functions,  show  that  they 


136  APPENDIX. 

are  worthy  of  the  holy  office  they  exercise.  It  will  also  be 
fitting  that  singers  while  singing  in  church  wear  the  ecclesias- 
tical habit  and  surplice,  and  that  they  be  hidden  behind  gratings 
when  the  choir  is  excessively  open  to  the  public  gaze. 

VI. — Organ  and  Instruments. 

15.  Although  the  music  proper  to  the  Church  is  purely  vocal 
music,  music  with  the  accompaniment  of  the  organ  is  also  per- 
mitted. In  some  special  cases,  within  due  limits  and  propriety, 
other  instruments  may  be  allowed,  but  never  without  the 
special  leave  of  the  Ordinary,  according  to  the  prescriptions 
of  the  Caeremoniale  Episcoporum. 

16.  As  the  chant  should  always  have  the  principal  place, 
the  organ  or  instruments  should  merely  sustain  and  never 
oppress  it. 

17.  It  is  not  permitted  to  have  the  chant  preceded  by  long 
preludes,  or  to  interrupt  it  with  intermezzo  pieces. 

18.  The  sound  of  the  organ  as  an  accompaniment  to  the 
chant  in  preludes,  and  the  like,  must  be  not  only  governed  by 
the  special  nature  of  the  instrument,  but  must  participate  in  all 
the  qualities  proper  to  sacred  music  as  above  enumerated. 

19.  The  employment  of  the  piano  is  forbidden  in  church, 
as  is  also  that  of  loud-sounding  or  lighter  instruments,  such 
as  drums,  cymbals,  bells,  and  the  like. 

20.  It  is  strictly  forbidden  to  have  bands  play  in  church,  and 
only  in  a  special  case  and  with  the  consent  of  the  Ordinary 
will  it  be  permissible  to  admit  a  number  of  wind  instruments, 
limited,  well  selected,  and  proportioned  to  the  size  of  the  place 
— provided  the  composition  and  the  accompaniment  to  be  exe- 
cuted be  written  in  a  grave  and  suitable  style,  and  similar  in 
all  respects  to  that  proper  to  the  organ. 

21.  In  processions  outside  the  church  the  Ordinary  may  give 


SACRED  MUSIC.  1 37 

permission  for  a  band,  provided  no  profane  pieces  are  exe- 
cuted. It  would  be  desirable  in  such  cases  that  the  band  con- 
fine itself  to  accompanying  some  spiritual  canticle  sung  in 
Latin  or  in  the  vernacular  by  the  singers  and  the  pious  asso- 
ciations which  take  part  in  the  procession. 

VII. — The  Length  of  the  Liturgical  Chant. 

22.  It  is  not  lawful  to  keep  the  priest  at  the  altar  waiting  on 
account  of  the  chant  or  the  music  for  a  length  of  time  not 
allowed  by  the  liturgy.  According  to  the  ecclesiastical  pre- 
scriptions the  Sanctus  of  the  Mass  should  be  over  before  the 
Elevation,  and  therefore  the  priest  must  here  have  regard  to 
the  singers.  The  Gloria  and  Credo  ought,  according  to  the 
Gregorian  tradition,  to  be  relatively  short. 

23.  In  general  it  must  be  considered  to  be  a  very  grave 
abuse  when  the  liturgy  in  ecclesiastical  functions  is  made  to 
appear  secondary  to  and  in  a  manner  at  the  service  of  the 
music,  for  the  music  is  merely  a  part  of  the  liturgy  and  its 
humble  handmaid. 

VIII. — Principal  Means. 

24.  For  the  exact  execution  of  what  has  been  herein  laid 
down,  the  Bishops,  if  they  have  not  already  done  so,  are  to 
institute  in  their  dioceses  a  special  Commission  composed  of 
persons  really  competent  in  sacred  music,  and  to  this  Com- 
mission let  them  intrust  in  the  manner  they  find  most  suitable 
the  task  of  watching  over  the  music  executed  in  their  churches. 
Nor  are  they  to  see  merely  that  the  music  is  good  in  itself,  but 
also  that  it  is  adapted  to  the  powers  of  the  singers  and  be  al- 
ways well  executed. 

25.  In  seminaries  of  clerics  and  in  ecclesiastical  institutions 
let  the  above-mentioned  traditional  Gregorian  Chant  be  culti- 


138  APPENDIX. 

vated  by  all  with  diligence  and  love,  according  to  the  Triden- 
tine  prescriptions,  and  let  the  superiors  be  liberal  of  encour- 
agement and  praise  toward  their  young  subjects.  In  like 
manner  let  a  Schola  Cantorum  be  established,  whenever  pos- 
sible, among  the  clerics  for  the  execution  of  sacred  polyphony 
and  of  good  liturgical  music. 

26.  In  the  ordinary  lessons  of  Liturgy,  Morals,  Canon  Law, 
given  to  the  students  of  theology,  let  care  be  taken  to  touch 
on  those  points  which  regard  more  directly  the  principles  and 
laws  of  sacred  music,  and  let  an  attempt  be  made  to  complete 
the  doctrine  with  some  particular  instruction  in  the  aesthetic 
side  of  the  sacred  art,  so  that  the  clerics  may  not  leave  the 
seminary  unfamiliar  with  all  those  notions,  necessary  as  they 
are  for  complete  ecclesiastical  culture. 

2J.  Let  care  be  taken  to  restore,  at  least  in  the  principal 
churches,  the  ancient  Scholae  Cantorum,  as  has  been  done  with 
excellent  fruit  in  a  great  many  places.  It  is  not  difficult  for 
a  zealous  clergy  to  institute  such  Scholae  even  in  the  minor  and 
country  churches — nay,  in  them  they  will  find  a  very  easy 
means  for  gathering  around  them  both  the  children  and  the 
adults,  to  their  own  profit  and  the  edification  of  the  people. 

28.  Let  efforts  be  made  to  support  and  promote  in  the  best 
way  possible  the  higher  schools  of  sacred  music  where  these 
already  exist,  and  to  help  in  founding  them  where  they  do  not. 
It  is  of  the  utmost  importance  that  the  Church  herself  provide 
for  the  instruction  of  its  masters,  organists,  and  singers,  ac- 
cording to  the  true  principles  of  sacred  art. 

XL — Conclusion. 

29.  Finally,  it  is  recommended  to  choir-masters,  singers, 
members  of  the  clergy,  superiors  of  seminaries,  ecclesiastical 
institutions,  and  religious  communities,  parish  priests  and  rec- 


SACRED  MUSIC.  j^g 

tors  of  churches,  canons  of  collegiate  churches  and  cathedrals, 
and,  above  all,  to  the  diocesan  Ordinaries,  to  favor  with  all 
zeal  these  prudent  reforms,  long  desired  and  demanded  with 
united  voice  by  all ;  so  that  the  authority  of  the  Church,  which 
herself  has  repeatedly  proposed  them,  and  now  inculcates  them, 
may  not  fall  into  contempt. 

Given  from  our  Apostolic  Palace  at  the  Vatican,  on  the  day 
of  the  Virgin  and  Martyr,  St.  Cecilia,  November  22,  1903,  in 
the  first  year  of  our  Pontificate. 

Pius  X,  Pope. 


APPENDIX  II. 


THE  LITURGICAL  CHANT. 

Summary  of  Regulations  and  Decisions  Regarding  the 
Chant,,  the  Use  of  the  Organ,  and  the  Lan- 
guage of  the  Liturgical  Service. 

I. 

Both  Plain  Chant  and  Figured  Music  are  recognized  by 
the  Church,  provided  the  compositions  harmonize  with  the 
accompanying  sacred  functions  and  religiously  correspond  with 
the  meaning  of  the  rite  and  the  liturgical  words.  (S.  R.  C, 
July  7,  1894,  n.  3830,  vii,  p.  I,  art.  1.)  The  plain  chant,  as 
found  in  the  editions  of  the  Roman  Missal  approved  by  the 
S.  R.  C.  (April  21,  1873,  n.  3292,  II),  must  be  used  at  the 
altar  (S.  R.  C,  March  14,  1896,  n.  3891)  ;  the  figured  music 
may  be  used  by  the  choir.      (Caer.  Episc,  Lib.  I,  cap.  28,  §  1.) 

II. — Missa  Cantata. 

a.  The  celebrant  sings  in  the  proper  tone,  according  to  the 
rank  of  the  festival,  all  that  is  prescribed  to  be  sung  by  the 
celebrant  and  the  deacon  in  a  solemn  Mass,1  but  the  Epistle 
may  be  sung  or  recited  by  a  lector  (ordained)  vested  in  sur- 
plice, who  stands  in  the  place  which  the  subdeacon  occupies 
whilst  singing  the  Epistle  in  a  solemn  Mass.     The  celebrant, 

1  See  Rubr.  Gen.  Miss.  Rom.,  Tit.  xvi,  3. 

(140) 


THE  LITURGICAL  CHANT.  I4I 

however,  recites  it  at  the  same  time  in  a  low  tone  of  voice. 
The  same  rule  is  to  be  observed  for  the  Lessons  on  the  Ember 
days  and  for  the  Prophecies  on  Holy  Saturday  and  on  the 
Vigil  of  Pentecost,  which  must  be  sung  throughout  (S.  R.  C, 
March  14,  1861,  n.  3104,  ad  VIII),  and  the  celebrant  can 
never  proceed  in  the  services  until  the  lector  has  sung  or  re- 
cited the  Epistle,  or  Lesson,  or  Prophecy.  In  the  absence  of  a 
lector  the  celebrant  sings  or  recites  (S.  R.  C,  April  23,  1875, 
n.  3350)  them  in  a  clear  voice. 

b.  The  choir  must  sing  everything  that  properly  belongs  to 
the  Mass  found — 

1.  in  the  Ordinarium  Missae,  viz.:  Kyrie,  Gloria,  Credo, 
Sanctus,  Agnus  Dei; 

2.  in  the  Graduate,  viz. :  Introit,  Gradual,  Tract,  Sequence, 
Offertory,  Communion  (S.  R.  C,  June  25,  1898,  n.  3994, 
ad  II) ; 

3.  in  the  ordinary  responses.  The  Deo  Gratias  after  the  Epis- 
tle and  the  Laus  t'ibi,  Christ e,  after  the  Gospel  are  merely  to  be 
said  by  the  ministers  of  the  Mass,  as  they  are  wanting  in  the 
notation  of  the  parts  to  be  sung  by  the  choir,  given  in  the 
Graduate.1 

The  Kyrie,  Gloria,  Sanctus,  and  Agnus  Dei  may  be  sung 
alternately  with  the  organ,  provided  that  the  verses,  not  sung, 
be  recited  in  a  clear  tone  whilst  the  organ  is  being  played. 
(S.  R.  C.,  May  22,  1894,  n.  3827,  ad  II.)  If  the  use  of  the 
organ  be  allowed,  the  Offertory  and  Communion  may  be  re- 
cited in  a  low  tone,  but  they  cannot  be  omitted.  (S.  R.  C, 
Jan.  10,  1852,  n.  2994,  ad  II.)  We  think  that  the  same  rule 
may  be  applied  to  all  the  parts  enumerated  under  b,  2,  if  the 
choir  be  unable  to  sing  them.  (See  S.  R.  C,  June  25,  1898, 
n.  3994,  ad  II.) 

1  TJie  Ecclesiastical  Review,  Nov.,  1903,  p.  539. 


142 


APPENDIX. 


The  Credo  must  be  sung  throughout  (S.  R.  C,  Sept.  7, 
1861,  n.  3108,  ad  XV).  If  time  permit,  it  is  allowed  after  the 
singing  of  the  Offertory,  between  the  Benedictus  and  the 
Pater  Noster  and  during  the  distribution  of  Holy  Communion, 
to  sing  Motets  {Caer.  Episc,  Lib.  I,  cap.  28,  §  9),  suitable  to 
the  service,  but  they  must  be  (1)  in  Latin,  and  (2)  taken  from 
Sacred  Scripture,  the  Breviary  or  hymns  and  prayers  ap- 
proved by  the  Church.  (S.  R.  C,  July  7,  1894,  n.  3830, 
VII,  p.  1,  art.  7.) 

It  is  unrubrical  to  repeat  the  words  Gloria  in  excelsis  Deo 
and  Credo  in  unum  Deum  after  they  have  been  sung  by  the 
celebrant. 

The  Introit  cannot  be  begun  before  the  celebrant  has  reached 
the  altar  (S.  R.  C,  April  14,  1753,  n.  2424,  ad  VII) ;  the 
Benedictus  must  be  sung  after  the  Elevation  (S.  R.  C,  May 
22,  1894,  n.  3827,  III).  Appeltern,  Manuale  Lit.,  Vol.  I,  p. 
322,  Nota,  holds  that  this  is  prescribed  only  for  Pontifical 
Masses;  the  Communion  cannot  be  begun  until  the  celebrant 
has  consumed  the  Precious  Blood  {Caer.  Episc.,  Lib.  II,  cap. 
8,  §  78),  and  if  Holy  Communion  is  distributed,  it  is  sung 
during  the  ablutions  (Miss.  Rom.,  Ritus  Celebr.,  Tit.  X,  9). 
During  the  Elevation  all  singing  is  strictly  forbidden.  (S.  R. 
C,  May  22,  1894,  n.  3827,  III.) 

III. — Missa  de  Requie. 

The  celebrant  sings  the  orations  in  tono  simplici  feriali;  the 
Preface  and  Pater  Noster,  in  cantu  feriali. 

The  choir  must  sing  throughout  all  the  parts  that  properly 
belong  to  the  Mass:  Kyrie,  Gradual,  Tract,  Sequence  Dies 
irae,1   Offertory,   Sanctus,  Agnus  Dei  and   the   Communion 

1  The  S.  R.  C,  Aug.  12,  1854,  n.  3029  ad  Dubium  XII,  concerning  the 
Dies  irae,  answered  "aliquas  strophas  Wins  cantores praeicrmittere posse ■," 


THE  LITURGICAL  CHANT.  143 

(S.  R.  C,  Sept.  ii,  1847,  n.  2959,  ad  XXIII;  May  9,  1857,  n. 
3051,  ad  I).  The  same  is  to  be  observed  at  the  Absolution 
of  the  Dead  with  regard  to  the  Libera  me,  Domine,  which 
must  not  be  begun  before  the  celebrant  has  taken  his  place 
at  the  bier  or  tumulus  (S.  R.  C,  Sept.  7,  1861,  n.  3108,  ad  IV). 
Note. — In  all  sacred  functions  when  the  choir  sings  alter- 
nately with  the  organ,  the  following  ought  to  be  sung  by 
the  choir: 

1.  The  first  verse  of  Canticles  and  Hymns; 

2.  Strophes  or  verses  during  which  the  ceremonies  prescribe 
that  the  ministers  kneel; 

3.  The  Gloria  Patri,  even  when  the  preceding  verse  was 
sung  by  the  choir; 

4.  The  last  strophe  of  Hymns  (Caer.  Episc.,  Lib.  I,  cap  28, 
§  6).  The  Gloria  Patri  at  the  end  of  the  Psalms  should  be 
sung  more  slowly  and  in  a  more  solemn  manner. 

IV. — The  Organ. 

The  use  of  the  organ  is  prohibited  at  Mass  and  Vespers 
when  de  tempore — 

1.  On  the  Sundays  of  Advent,  except  on  the  third  Sunday 
(Gaudete),  or  when  a  feast  Dupl.  I  classis  falls  on  the  second 
or  fourth  Sunday; 

2.  On  the  Sundays  of  Lent,  except  on  the  fourth  Sunday 
(Laetare),  or  when  a  feast  Dupl.  I  classis  falls  on  the  second 
or  third  Sunday; 

3.  On  the  ferials  of  these  penitential  seasons,  except  on 
festivals,1  in  solemn  votive  Masses,  on  Holy  Thursday  to  the 

but  as  Dubium  XII  and  its  answer  are  expunged  from  the  latest  edition  of 
the  Decrees  (Romae,  Ex  Typogr.  Polygl.  S.  C.  de  P.  F.,  1898-1901)  we 
conclude  that  it  must  be  sung  throughout. 

1  During  the  Forty  Hour's  Devotion  on  the  Sundays  of  Advent  (except 


144  APPENDIX. 

end  of  the  Gloria  in  Excelsis,  and  on  Holy  Saturday  after  the 
intonation  of  the  Gloria  in  Excelsis  by  the  celebrant  to  the 
end  of  Mass. 

The  prohibition  of  the  playing  of  the  organ  whilst  the  cele- 
brant is  singing  the  Preface  and  Pater  Noster  is  implied  by  the 
Caeremoniale  Episcoporum  (Lib.  II,  cap.  28,  §  9),  inasmuch 
as  these  parts  of  the  Mass  are  not  enumerated  among  those  at 
which  the  use  of  the  organ  is  permitted.  The  S.  R.  C.  (Jan. 
2j,  1899,  n*  4009)j  when  asked,  answered:  "  Obstat  Caere- 
moniale Episcoporum  quod  servandum  est." 

During  the  Elevation  the  quiet  and  devotional  (graviori  et 
dulciori  sono)  playing  of  the  organ  is  permitted.  {Caer. 
Episc,  Lib.  I,  cap.  28,  §  9.)  Where  the  custom  prevails,  the 
music  of  the  organ  may  be  substituted  for  the  Deo  Gratias 
after  the  Ite,  Missa  est.  (S.  R.  C,  Sept.  11,  1847,  n-  295I> 
ad  V.)  The  organ  may  be  played  from  the  moment  the  cele- 
brant leaves  the  sacristy  until  the  chant  of  the  Introit  begins ; 
when  the  celebrant  is  occupied  at  the  altar  and  there  is  noth- 
ing to  be  sung  by  the  choir;  from  the  Ite,  Missa  est  until  the 
celebrant  has  returned  to  the  sacristy. x  Whether  figured  music 
or  the  Plain  Chant  be  used  {Ephem.  Liturg.,  Vol.  X,  p.  275), 
the  organ  may  be  played  as  accompaniment  whilst  the  choir 
sings  during  Requiem  Masses,  but  it  must  be  silent  when  the 
singing  ceases  {Caer.  Episc,  Lib.  I,  cap.  28,  §  13). 

With  the  exception  of  the  occasions  noted  in  the  paragraphs 
above,  the  organ  may  be  used  at  all  other  liturgical  services 
and  sacred  functions.  During  the  Blessing  with  the  Blessed 
Sacrament  the  organ  may  be  played  snavi  ac  gravi  sonitu 
(Gardellini,  Instr.  Clement.,  §  xxxi,  n.  12). 

Gaudete)  and  of  Lent  (except  Laetare)  and  on  Ash  Wednesday  and  the 
first  three  days  of  Holy  Week  the  use  of  the  organ  is  forbidden.     S.  R.  C, 
June  2,  1883,  n.  3576,  ad  XVI. 
1  Auctores  gencratim. 


THE  LITURGICAL  CHANT.  1 45 

Note  I. — "  Figured  organ  music  ought  generally  to  be  in 
accord  with  the  grave,  harmonious,  and  sustained  character  of 
that  instrument.  The  instrumental  accompaniment  ought  to 
support  decorously  and  not  drown  the  chant.  In  the  preludes 
and  interludes  the  organ,  as  well  as  the  other  instruments, 
ought  always  to  preserve  the  sacred  character  corresponding  to 
the  sentiment  of  the  function"  (S.  R.  C,  July  7,  1894,  VII, 
De  Musica  Sacra  Ordinatio,  n.  3830,  p.  1,  art.  VI). 

Note  II. — "  It  is  forbidden  to  improvise  fantasias  upon  the 
organ  by  any  one  who  is  not  capable  of  doing  it  in  a  suitable 
manner — that  is,  in  a  way  comformable  not  only  to  the  rules 
of  art  but  also  calculated  to  inspire  piety  and  recollectedness 
among  the  faithful."      (Ibidem,  Art.  XII.) 

Note  III. — The  Church  regards  the  Gregorian  (plain)  Chant 
as  truly  her  own,  which  is  accordingly  the  only  one  adopted 
in  the  liturgical  books  of  which  she  approves  (Ibidem,  Art. 
II),  although  "With  us  it  would  be  more  difficult  to  render 
a  Plain  Chant  Mass  well  than  almost  any  figured  chant.  But 
a  suggestion  might  be  made,  apropos  of  this:  that  wherever 
and  whenever  a  choir  is  unable  to  produce  properly  a  "  grand  " 
Mass,  it  should  respect  the  fame  of  the  composer,  the  real 
merits  of  his  work,  the  feelings  of  the  congregation,  and  es- 
pecially the  liturgical  proprieties,  by  contenting  itself  with  a 
simpler  composition."  * 

V. — Language. 

In  solemn  strictly  liturgical  functions,2  hymns  in  any  other 
than  the  Latin  language  are  forbidden.  (De  Musica  Sacra 
Ordinatio,  S.  R.  C,  July  7,  1894,  n.  3830,  VII,  p.  1,  art.  VII.) 

1  Rev.    H.   T.    Henry,    Litt.    D.,    "The  Recent    Decree    on    Church 
Music,"  American  Catholic  Quarterly  Review.  January,  1895.  p.  107. 
:  Found  in  the  Missal,  Breviary  and  Roman  Ritual. 


146  APPENDIX. 

These  hymns  must  be  taken  from  the  Sacred  Scriptures,  from 
the  Breviary,  or  be  hymns  and  prayers  otherwise  bearing  the 
approval  of  the  Church.     {Ibidem.) 

In  a  Missa  solemnis  or  cantata,  hymns  in  honor  of  the  Saint 
or  Mystery  whose  feast  is  being  celebrated  in  the  vernacular 
are  not  allowed  (S.  R.  C,  Jan.  31,  1896,  n.  3880).  To  sing 
hymns  in  the  vernacular  during  the  distribution  of  Holy 
Communion  in  a  Missa  solemnis  or  cantata  is  prohibited. 
(S.  R.  C,  Jan.  14,  1898,  n.  3975,  ad  V,  1.) 

During  Benediction,  from  the  beginning  of  the  Tantum  ergo 
to  the  end  of  the  blessing,  nothing  in  the  vernacular  may  be 
inserted  (S.  R.  C,  March  23,  1881,  n.  3530,  ad  II),  except 
the  Divine  Praises,  "  Blessed  be  God,"  which  may  be  recited 
immediately  after  the  oration  Deus  qui  nobis,  or  after  the 
blessing  (S.  R.  C,  March  11,  1871,  n.  3237,  ad  I). 

Before  and  after  a  Missa  solemnis  or  cantata,  during  a  Missa 
privata,  before  the  Blessed  Sacrament  exposed,  except  from 
the  Tantum  ergo  to  the  end  of  the  Blessing  and  in  all  other 
sacred  services,1  hymns  and  prayers  in  the  vernacidar  are  al- 
lowed, except  the  Te  Deum  and  other  strictly  liturgical  pray- 
ers (S.  R.  C,  Febr.  27,  1882,  n.  3537,  ad  III).  Both  hymns 
and  prayers  ought  to  inspire  piety  and  be  approved  com- 
positions. 

Note. — Only  those  Litanies  which  have  been  approved  by 
the  Apostolic  See  may  be  sung  or  recited  in  churches  or  pub- 
lic oratories,  whether  the  services  be  public  (S.  R.  C,  March 
6,  1894,  n.  3820  ad  I)  or  private  (S.  R.  C,  June  20,  1896, 
n.  3916).  These  Litanies  are  "  Omnium  Sanctorum,"  "  SS. 
Nominis  Jesu,"  "  SS.  Cordis  Jesu,"  "  Lauretanae  B.  M.  V." 

1  Triduums,  novenas,  devotions  in  honor  of  the  Sacred  Heart,  etc. 


INDEX 


A  Capella  singing 62  | 

Accessibility  of  polyphonic  music 

95,  96 
Adult  section  of  Choir     ...  16 

Age  for  Choir-boy,  Proper   .    16,  30 

Altar,  High 37 

Alto-boy 24  | 

Alto,  adult — male 24 

Alto  section  of  choir  ...      24 

Altos,  Training  of 63 

Amateur  singing 94 

Anthems  of  Blessed  Virgin   .   .      92 

Anthony,  Mr.  Wilfrid 36 

Antiphons  to  Psalms  ....    90,  94 

Apostles,  The 122 

Appreciation  of  loyal  service  .  .  33 
Architecture,  Byzantine  ....  $7 
Architecture,  Romanesque     .   .      37 

Baeuerle,  Rev.  Hermann  .    .    96,  97 

Beethoven 102,  106 

Behnke,  Brown  and     ...  48 

Behnke,  Emil 48,  57 

Bellenot,  Philippe    .    16,  21,  76,  11 1 

Benedictines  83 

Birkle,  O.  S.  B.,  Dom  ....      49 

Blending  of  art-forms 85 

Bordes,  Charles 97 

Boston  Cathedral  Choir  .  .  22,  39 
Boy-choir,     Distinctive    feature 

of  a 53 

Boy-choir,  Objections  to  .  .  .  8 
"Boy-choir,"  technical  term    .        8 

Boy-choristers 13 

Boys  in  the    soprano    and    alto 

parts 5 

Boys'  section,  Leakage  from  .  28 
Boys'  section,  Organization  of  12 
Boys  suitable  for  a  choir?  What  13 
Boys'  voices  to  be  used  .  .  80,  81 
Boys — where  to  get  them  ...      13 


Boy-voice — its  powers  .  .  .  .  7,  53 
Boy-voice — its  cultivation  .  .  54,  57 
Boy-voice — its  registers    .   .    .  57,  65 

Brandon,  Harry 55 

"Break"  in  the  boy-voice,  The    58 
"Break,"  Process  for  smooth- 
ing the 60 

Breathing  in  singing 63 

Breitkopf  and  Haertel  .    .    .   .  96,  98 

Browne  and  Behnke 48 

Burns  and  Oates 109 

Byzantine  architecture     ....      37 

Cascilian  music 108,  in 

Caecilia  Society 9 

Cantorum,  Scholae 6 

Cary  and  Co no 

Cassocks  and  surplices,  Lockers 

for 74 

Celebrant's  intonations  at  Ves- 
pers          90 

Cseremoniale,  The 36,  37 

Chancel,  The 36 

Chanting,  Gregorian 21 

"  Chest "  register 58 

Choir,  An  unbalanced 22 

Choir-hall,  The  .    .    ._ 74 

Choirmaster  as  organist,  The  .  45 
Choirmaster  as  leader  and  trainer  47 
Choirmaster,  Obligations  of  a  .  44 
Choirmasters  should  be  loved   .      32 

Choir— "  mixed  " n 

Choir,  Organization  of  a  .  ...  n 
Chorister,  Proper  age  for  a  .  .  16,  30 
Chorister,  Qualifications  of  a   .      14 

Chorus,  Small 21 

Church   of   Blessed    Sacrament, 

Providence,  R.  1 37,  39 

Church  of  St.  Sulpice,  Choir  at 

16,  21,  39,  76 
Classic  polyphony 95 


(147) 


148 


MANUAL  OF  CHURCH  MUSIC. 


Compline 93 

Congregational  Singing  .    .  113,  117, 

120 

Console,  Organ 39 

Convent  hymns 123 

Cook,  Mr.  Arthur  E 67 

Corporal  punishment  of  choris- 
ters .  33 

Council  of  Laodicea 6 

Credo  at  High  Mass 142 

Cologne    Cathedral,    Congrega- 
tional singing  at 115 

Commission  of  New  York,  Music    31 
Curwen,    F.    R.    A.    M.,    John 
Spencer  .  21,  23,  25,  29,  35,  48,  55 

Decrees  of  Sacred  Congregations  140 
Desclee,  Lefebvre  and  Co.  .  .  .  83 
Diagrams  for  seating  choristers    38 

Dickinson,  Edward 6,  114 

Discant 85 

Discipline 33 

Display  to  be  avoided 81 

D'Ortigue,  Joseph 86 

Dream  of  Gerontius  ......    122 

Duncan,  Mr.  Henry 33 

Elaborate  treatment  of  Gregorian 

compositions 88,  89,  92 

Elgar,  Sir  E.  . 122 

Electro-pneumatic  organs  ...      40 
Equipment  in    average    church, 
Musical  ...  ...      11 

Expenses  of  a  Sanctuary  Choir    41 

Falsi  bordoni 85 

Female-voices— debarred     from 

liturgical  choir   .    .      5,  53,  80,  81 
Female-voice— unsuited  to  litur- 
gical music 53 

Figured  Vespers 107 

Fines  of  choristers 31 

Fischer  and  Bro.,  J.    .    .  97,  no,  125 

"Fixed  Do"  system 71 

Florio,  Caryl 55 

Gannon,  Mr.   Robert    ....  29,  61 

Garret,  Dr.  ...           26 

Gibbons,  Cardinal 115,  116 

Gloria  at  High  Mass 142 

Goodrich,  Wallace,       86 

Gounod 102,  106,  107,  in 

Grecian  music 82 

Gregorian  chanting 21 


Gregorian  chant  restored   .    .  80,  112 

Haberl,  Dr.        43,  44,  49 

Hammerel,  Victor 19,  27 

Harmonization  of  Chant,  84,  88,  89,  92 

Haydn 102,  105,  106 

"Head"  register 58 

Hebrew  music 82 

Henry,  The  Rev.  H.  T.,  Litt.  D. 

Preface,  .  145 
Hints  for  maintaining  a  Choir  .      28 

Holy  Week  Offices 94 

Honorarium  for  Boys 31 

Hopkins,  Dr.  E.  J 21 

Hymns  by  non-Catholic  writers.  125 
Hymns,  vernacular,   when   per- 
missible ? 146 

Instruction  in  Sacred  Music,  127,  130 
Interest  on  the  part  of  priests    .      33 

Introit  at  High  Mass 142 

Italian    method    of   using   vocal 
registers 65 

Junior  Choir 124 

Kavanagh,  Blatchford 23 

Key-board,  Organ 39 

Krehbiel,  Mr.  H.  E 55,  66 

La  Jeune,  Mr 66 

Lemaistre,  A 49 

Language,  prescribed  at  services.  145 

Laodicea,  Council  of 6 

Latin  Language  should  be  known 

by  Choirmaster 49 

La  Tribune  de  Saint  Gervais  .  .  97 
League  and  Sodality  Hymns  .  .  121 
Leakage  from  Boys'  section  .  .  28 
Length  of  Liturgical  Chant    .    .    137 

Leo  XIII  .       83 

Levites,  Choir  of 36 

Libera  me  Domine  at  Requiems.  143 
Litanies  which   may  be  sung  or 

recited  publicly 146 

Litany  of  the  B.  V.  M 93 

Literature  on  training  of  a  Choir.     48 

Liturgical  Text 133 

London  Catholic  Choirs  ....  17 
Low  Mass  with  Music 122 

M agister  Choral  is 86 

Magnificat 91,  98,  107 

Maintaining  a  Choir 28 


INDEX. 


149 


Martin,  Sir  George,  Mus.  Doc.         I 
30,  48,  59,  62,  70,  76  J 

Martinucci 36,  90  j 

Mass  not  to  be  delayed  by   the 

Music 105 1 

Men  required,  number  of  .  .  23,  24 
Men's  Section  of  Choir  ....  16 
Men,  Training  of  Choir  ....      £M 

Men,  Young 17! 

Messiter,  Mr 67 

Meyers,  Mr.  A.  B 26 

Missa  Cantata— What   is  to    be 

sung  by  the  Celebrant  ?  .    .    -     140 
Missa  Cantata— What   is  to    be 

sung  by  Choir         141 

"Missa,    Cunctipotens    Genitor 

Deus" 87 

"  Missa,  Orbis  Factor  "  .  ...  87 
"  Missa  pro  defunctis  "  ....  87 
Mission  Church,  Boston     ...      30 

"  Mixed  choirs  "  11 

Modern  Hymnody 119 

Modern  Masters  of  Music, 

102,  106,  107 

Modern  Music 91,  102 

Motets  at  the  Offertory  ....  142 
Motets  in  Plain  Chant  ....  93 
Motu  proprio    80,  82,  88,  93,  99,  102, 

103,  104, 105, 107,  109,  no,  in,  127 
"Movable  Do"  system  ....      71 

Mozart 102,  106,  in 

Musica  Divina  :  Dr.  Proske  .  99 
Musical    equipment   of    average 

church n 

Newman,  Cardinal       .    .    .    125,  126 
New  York,  Musical  Commission 
of  the  Archdiocese  of   ...   .      31 

Niedermeyer,  Louis 86 

Notation,  Gregorian 70,  72 

Number  of  Rehearsals  ....  75 
Number  of  Voices 20 

Oakeley,  Canon 7 

Objection  to  Boy  Choir  ....  8 
O'Connell,    D.  D.,  The    Right 

Rev.  William 31 

Office  Hymns  and  Versiculi  .  91,  94 
One  Mass  should  be  sung  com- 
plete     88 

Organ,  The 36 

Organ  and  Instruments  ....  136 

Organ  accompaniment  to  Chant.  86 


Organ    at    St.    Bartholomew's, 

New  York,  The 40 

Organ  at  Symphony  Hall,  Bos- 
ton, The 40 

Organ,  electro-pneumatic  ...  40 

Organ,  tracker   ........  40 

Organ,  tubular-pneumatic  .    .    •  40 
Organ,  when  and  how  it  should 

be  played      143 

Organist,  The 45 

Organization  of  a  Choir  .    .    .    .  n 

Organization  of  Boys'  Section  .  12 
Organization  of   Adult    Section 

of  Choir 16 

Organum.     Hucbald     ......  85 

Origin  of  Gregorian  Chant    .    .  82 

Palestrina  Music 85 

Palestrina  School  of  Music    .    .  95 

Papal  Choir no 

Paris  Schola  Cantorum   ....  97 

Parochial  Schools 13 

Parts,  Proportion  of 22 

Paying  the  Boys 31 

Perosi,  Dom  Lorenzo  •    .    .  no,  in 

Personnel  of  Church  Choirs  .    .  5 

Pius  IX 83 

Pius  X  .  79,  80,  94,  99,  101,  121,  126, 

139 

Polyphonic  settings  of  Manificat.  98 

Priests'  Interest  in  their  Choirs.  33 

"Probationers" 29 

Processional  Hymns 125 

Proper  of  the  Mass   .  89,  91,  94,  141 

Proportion  of  voices 22 

Proske,  Dr 99 

Protestant  Church  Music    .  6,  9,  114 

Psalmody 90 

Punishment       of       Recalcitrant 

Choristers 33 

Purity  of  tone 64 

Qualifications  of  a  Choirmaster.  14 

Ratisbon  Edition  of  the  Chant  .  83 

Recessional  Hymns 125 

Reform,  Call  for 1 

Registers  in  Boy- Voice  ....  57 

Rehearsals    .           74 

Rehearsal  Hall 74 

Rehearsals,   Method  of  Proced- 
ure at yy 

Repertoire     des     Chanteurs     de 

Saint  Gervais 97 


i5o 


MANUAL  OF  CHURCH  MUSIC. 


Requiems  and  Weddings    ...      18 
Requiem     Masses,     Regulation 
concerning  the  Music  at     .    .    142 

Responses  at  Mass 89 

Responses  at  Vespers 92 

Richardson,  Dr.  Madeley  .    .  14,  23, 

32,  49,  76 

Roberts,  Dr.  J.  Varley     .    .    .48,  71 

Rockstro,  W.  S 85 

Romanesque  architecture    ...      yj 

Roman  Choral 82 

Roman  music 82 

Roney,  H.  B 23 

Rossini  107 

Rules,  Choir 34 

Sacred   Compositions,   External 

form  of  133 

Sacred  Music,  Different  kinds  of  131 

Sacred  Oratorio 108 

St.  Augustine 115 

St.       Bartholomew's       Church 

Organ 40 

St.  Jerome 115 

St.  Paul's,  59th  St.,  New  York 

22,  37,  39 
St.  Paul's  Cathedral,  London  .      20 

St.  Sulpice,  Choir  at 16,  21 

Sanctuary,  Choir  in 37 

Scholae  cantorum 6 

School  Hymns 123 

School-Sisters  as  assistants    .    .      34 

Schools     13 

Seating  of  Choir 38 

Seiler,  Madame .      48 

Sight  reading 31,  70 

Singenberger,  J 108 

Singers,  The 135 

Sisters  of  the  School  as  assist- 
ants           34 

Small  Chorus 21 

Sodalists 16 

Solesmes  Chant 83,  92,  11 1 

Solo  singing  105,106 

Stainer,  Sir  John  .    .        ....      62 

Stalls,  Choir 37 

Stubbs,  G.  Edward  .    .  15,  18,  23,  48, 

62,  65 
Suggested  polyphonic  Masses  .  98 
Suggested  polyphonic  Motets  98 

Summary    of    Regulations    con- 
cerning the  Organ,  Chant,  etc.  140 


Surplices  worn  by  Choristers     .      39 
Symphony  Hall,  Boston,  Organ 
in 40 

TantumErgo :   .      93 

Taylor,  Mr 25 

Technical  Study  of  the  Chant  .  84 
Technical  Training  of  a  Choir  .      69 

Terry,  Mr.  R.  R. no,  in 

Test  of  Modern  Composition   .  103, 
104,  105,  106 

Theatrical  Music 104 

Three  Kinds  of  Church  Music  .      80 
Three  Tests  of  a  Hymn   ....    119 
Tone  quality— its  importance    .  8,  58 
Tone   quality — Method   for  pro- 
ducing good 57 

To  teach  Gregorian  Chant  ...  87 
Tozer,  Dr.  A.  Edmonds    .    .  60,  77, 

125 
Training  of  the  Boy's  Voice  .    .      57 

"Tracker"  Organs      40 

True  test  of  Church  Music  .  .  -  80 
"Tubular-pneumatic"  organs.  40 
Tuft's  Method  of  Sight  Reading    71 

Ungerer,  Mr.  J.  C 26,  30 

Unisonal  singing 88 

Vatican  Edition  of  Chant    ...      83 
Vernacular   Hymns — when  per- 
missible      146 

Vespers 90 

Vespers  di  concerto 107 

Vespers,  Solemn 36 

Victimae  Paschali — could  not  be 
well     sung    by     head-register 

alone 67 

Voices,  Number  of 20 

Voices,  Proportion  of 22 

Voice  training 31 

Westminster  Abbey  ...  29 

Westminster  Cathedral,  Choir  at 

21,  39 
What  boys  to  get  for  the  Choir  14 
Where  to  get  boys  for  the  Choir  13 
Whitney,  S.  B 20 

Young  Men  as  Choir  Members  17 
Young,  C.  S.  P.,  Rev.  Alfred  .  113, 

124 
Young,  S.  J.,  Rev.  J.  B.  .    .  30,  124 


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